Goncharov Oblomov Olga Ilyinskaya characteristic. Characteristics of Olga Ilyinskaya in the novel "Oblomov" - a description of the image and interesting facts

The novel "Oblomov" is the main work in creativity. The novel was created over several years, from 1847 to 1859. The landowner became its main character. An educated person spends his life indulging in bliss and half laziness. He is not adapted to work and, despite the existing potential, does not have an interest in any type of activity. Olga Ilyinskaya, whose character turns out to be the exact opposite of Oblomov's image, the author assigned the role of the motivator of the main character.

The novel shows character development. Having met Olga as a young girl, the reader observes her development as a person, growing up and changing status. Constantly striving for self-development, the ambitious Olga Sergeevna Ilyinskaya awakens in Oblomov a love that is not destined to continue.

Biography and plot

Olga Ilyinskaya is an attractive girl living in St. Petersburg. She is positive, optimistic and not prone to the mannerisms traditional for the era described. The girl's family is noble. Parents died early, and as a child the heroine ended up in the house of her aunt, Marya Mikhailovna. There she was given an upbringing, allowed to openly express her opinion. Olga's self-sufficiency is also explained by the fact that she was her close friend. The girl is a fan of his views and brings to life ideas favored by a friend.

The image of Olga is not typical for a woman of the 19th century. Her characteristic excludes a tendency to coquetry and affectation, secrecy and greed. The girl cares little about decency and other people's opinions. Ilinskaya's societies are shunned by champions of the traditional social order and etiquette. Olga is educated and reasonable. Describing the character, the author does not pay attention to appearance, noting that the heroine lacks white skin, blush and refined outlines. The graceful and elegant Ilyinskaya turns from a good-natured child into a woman whose face loses its carefree expression and takes on a painful thoughtfulness.

The feelings that Olga awakened in Oblomov's heart ennobled the hero and allowed him to begin a new stage in his life. The hero was unable to match the girl, and they had to break off relations. The breakup hurt both of them. Ilya Oblomov fell ill with a fever, and Olga Ilyinskaya went to Paris to heal a broken heart. Six months spent in France, she maintained a close relationship with Stolz and came to her senses. Having accepted a marriage proposal from a friend of Oblomov, Olga married him.

Combining simplicity and naturalness, Olga Ilyinskaya differed from the fair sex in St. Petersburg. , which occupied Oblomov's thoughts after Olga's departure, did not differ in breadth of views or lofty ideals. Its simplicity and the desire to lead a familiar lifestyle made the hero think that similarity gives grounds for the appearance of feelings.

Olga's personal growth, described on the pages of the work, is happening at a rapid pace. This conquered Oblomov. Later, realizing that he was not ready for such a rhythm of life and had other ideals, the hero gave up trying to be on a par with Ilyinskaya. The love story didn't happen.

In comparison with Olga Pshenitsyna looks modest. Her main concerns are housekeeping and the search for opportunities to please Oblomov. For her, he acts as Ilinskaya, so it seems to the lazy landowner that marriage with Pshenitsyna is a successful scenario.

Accustomed to home life, lavish feasts, the quiet fluidity of time, Oblomov and Pshenitsyna are content with what fate presents them. At the same time, Ilyinskaya and Stolz got used to creating their lives in spite of circumstances. The Oblomov re-education plan that Ilyinskaya developed would never have occurred to Pshenitsyna, who believed that her husband was an ideal man. The feelings that Olga mistook for love were rather pleasure from the results demonstrated by Ilya. Olga's main purpose is to constantly search for herself and improve herself, which is impossible next to Oblomov.

actresses

The novel "Oblomov" was filmed. The audience remembered two films worthy of analysis and distinguished by interesting acting work. In 1966, a TV series created by Italian directors was released. The role of Olga was played by Giuliana Lodzhodiche, and Alberto Lionello acted as Oblomov.

The Soviet audience was able to appreciate the director's interpretation in 1979. Feature film “A Few Days in the Life of I.I. Oblomov” was received warmly and kindly. Critics noted the game that embodied Ilyinskaya on the screen.

The meek and refined actress faithfully portrayed the features that the author described in the novel. The appearance of the actress gracefully complemented the image she created. The role brought the performer great success in cinema. In a duet with Elena Solovey, she presented a unique tandem of an outstanding personality and her ward.

Literary critics are looking for the prototype of Olga Ilyinskaya, noting her resemblance to the main character of the novel "". reminiscent of Ilinskaya. Writers characterize girls as simple characters with no interest in the secular life of modern society. In working on the image, Goncharov went further, depicting a woman who attracts with natural beauty and serious requests. Olga is not enough to be a happy lady, she feels the need to show character.

Ilyinskaya is one of the classic female images of Russian literature. Olga is an authentic heroine, a whole nature, which has no equal.

Quotes

The author puts into the mouth of the main character the words that he expects to hear from the public. The middle of the 19th century was a troubled time, when there were no counts of persons like Oblomov. Few people wanted to leave their comfort zone in order to take decisive action, and in the image of a woman, the writer gives Oblomov and people like him the strongest motivation. The feminine principle is a collective image of the height reached:

“I am your goal,” you say, and you walk towards it so timidly, slowly; and you still have a long way to go; you must be taller than me. I expect it from you!” Olga says to Oblomov.

Despite prudence, Olga is not alien to heart impulses:

“The heart, when it loves, has its own mind ... it knows what it wants and knows in advance what will be”

This is how a girl explains, who does not fully understand that, without wanting it herself, she replaced love with passion. In the depths of her soul, Olga understands that the feelings she has experienced have no chance:

“Yes, in words you punish yourself, throw yourself into the abyss, give up half your life, and then doubt will come, a sleepless night: how you become gentle with yourself, careful, caring, how far you see ahead! ..”

The girl sees who Oblomov is and understands that he will never decide on a serious act and will not change his essence.

Characteristics of the hero

Olga Sergeevna Ilyinskaya - Oblomov's beloved, Stolz's wife, a bright and strong character.

“Olga in the strict sense was not a beauty ... But if she were turned into a statue, she would be a statue of grace and harmony”, “In a rare girl you will find such simplicity and natural freedom of sight, word, deed ... no lie, no tinsel, no intent !"

O. and Oblomov introduces Stolz. Ilya Ilyich is immediately captivated by the amazing voice of the girl. Listening to her magnificent "Casta diva", Oblomov falls more and more in love with O.

The heroine is self-confident, her mind requires constant work. Having fallen in love with Oblomov, she certainly wants to change him, raise him to her ideal, re-educate him. O. draws up a plan to "remake" Oblomov into an active, active person. “And she will do all this miracle ... She even trembled with proud, joyful awe; I considered it a lesson appointed from above. O. understands that in relations with Oblomov she has the main role, "the role of a guiding star." She was transformed along with Oblomov's changes, because these changes are the work of her hands. But the mind and soul of the heroine required further development, and Ilya Ilyich changed very slowly, reluctantly and lazily. O.'s feeling resembles rather the experience of re-educating Oblomov than sincere first love. She does not inform Oblomov that all affairs on her estate have been settled only in order to “follow to the end how love will make a revolution in his lazy soul ...” But, realizing that her life ideals will never converge with Oblomov’s ideals, O. breaks relationship with him: “... you are ready to coo all your life under the roof ... but I’m not like that: this is not enough for me, I need something else, but I don’t know what!” O. needs to feel that her chosen one is above her. But even Stolz, whom she will marry, does not succeed. "The deep abyss of her soul" haunts O. rest. She is doomed forever striving for development and a richer, spiritually rich life.

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

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

OBLOMOV

(Roman. 1859)

Ilinskaya Olga Sergeevna - one of the main characters of the novel, a bright and strong character. A possible prototype of I. is Elizaveta Tolstaya, Goncharov's only love, although some researchers reject this hypothesis. “Olga in the strict sense was not a beauty, that is, there was neither whiteness in her, nor the bright color of her cheeks and lips, and her eyes did not burn with rays of inner fire; there were no corals on the lips, no pearls in the mouth, no miniature hands, like those of a five-year-old child, with fingers in the form of grapes. But if she were turned into a statue, she would be a statue of grace and harmony.

From the time she was orphaned, I. lives in the house of her aunt Marya Mikhailovna. Goncharov emphasizes the rapid spiritual maturation of the heroine: she “as if she was listening to the course of life by leaps and bounds. And every hour of the slightest, barely noticeable experience, an incident that flies like a bird past the nose of a man, is grasped inexplicably quickly by a girl.

Andrey Ivanovich Stolz introduces I. and Oblomov. How, when and where Stolz and I. met is unknown, but the relationship connecting these characters is distinguished by sincere mutual attraction and trust. “... In a rare girl you will find such simplicity and natural freedom of sight, word, deed ... No affectation, no coquetry, no lies, no tinsel, no intent! On the other hand, almost only Stolz appreciated her, but she sat through more than one mazurka alone, not hiding her boredom ... Some considered her simple, short-sighted, shallow, because neither wise maxims about life, about love, nor quick ones fell from her tongue, unexpected and bold remarks, nor read or overheard judgments about music and literature ... "

Stolz brings Oblomov to I.'s house not by chance: knowing that she has an inquisitive mind and deep feelings, he hopes that with his spiritual inquiries I. will be able to awaken Oblomov - make him read, watch, learn more and more legibly.

Oblomov, in one of the very first meetings, was captured by her amazing voice - I. sings an aria from Bellini's opera "Norma", the famous "Casta diva", and "this destroyed Oblomov: he was exhausted", more and more plunging into a new feeling for himself.

I.'s literary predecessor is Tatyana Larina ("Eugene Onegin"). But as the heroine of a different historical time, I. is more confident in herself, her mind requires constant work. This was also noted by N. A. Dobrolyubov in the article “What is Oblomovism?”: “Olga, in her development, represents the highest ideal that a Russian artist can now evoke from the current Russian life ... There is something more in her than in Stolz, one can see a hint of a new Russian life; one can expect a word from her that will burn and dispel Oblomovism ... "

But this I. is not given in the novel, just as it is not given to dispel the phenomena of a different order, similar to her heroine Goncharov Vera from The Cliff. The character of Olga, fused simultaneously from strength and weakness, knowledge about life and the inability to bestow this knowledge on others, will be developed in Russian literature - in the heroines of A.P. Chekhov's dramaturgy - in particular, in Elena Andreevna and Sonya Voynitskaya from "Uncle Vanya".

The main property of I., inherent in many female characters in Russian literature of the last century, is not just love for a particular person, but an indispensable desire to change him, raise him to his ideal, re-educate him, instilling in him new concepts, new tastes. Oblomov turns out to be the most suitable object for this: “She dreamed of how“ she would order him to read the books ”that Stoltz left, then read the newspapers every day and tell her the news, write letters to the village, finish the plan for the estate, get ready to go abroad, - in a word, he will not doze off with her; she will show him the goal, make him fall in love again with everything that he has stopped loving, and Stolz will not recognize him when he returns. And all this miracle will be done by her, so timid, silent, whom no one has obeyed until now, who has not yet begun to live! .. She even trembled with proud, joyful trembling; I considered it a lesson appointed from above.

Here you can compare her character with the character of Lisa Kalitina from I. S. Turgenev's novel "The Nest of Nobles", with Elena from his own "On the Eve". Re-education becomes the goal, the goal captivates so much that everything else is pushed aside, and the feeling of love gradually submits to teaching. Teaching, in a sense, enlarges and enriches love. It is precisely from this that the serious change occurs in I. that so struck Stolz when he met her abroad, where she, together with her aunt, arrived after the break with Oblomov.

I. immediately understands that in relations with Oblomov she plays the main role, she "in an instant weighed her power over him, and she liked this role of a guiding star, a ray of light that she would pour over a stagnant lake and be reflected in it." Life seems to wake up in I. along with the life of Oblomov. But in her this process takes place much more intensively than in Ilya Ilyich. I. seems to be testing on him his capabilities as a woman and a teacher at the same time. Her extraordinary mind and soul require more and more "complex" food.

It is no coincidence that at some point Obkomov sees Cordelia in her: all I.'s feelings are permeated by a simple, natural, like a Shakespearean heroine, pride, prompting to realize the treasures of one's soul as a happy and well-deserved given: “What I once called mine, that is no longer I’ll give it back, unless they take it away ... ”she says to Oblomov.

I.'s feeling for Oblomov is whole and harmonious: she simply loves, while Oblomov is constantly trying to find out the depth of this love, and therefore suffers, believing that I. “loves now, as she embroiders on the canvas: the pattern comes out quietly, lazily, she is even lazier unfolds it, admires it, then puts it down and forgets it. When Ilya Ilyich tells the heroine that she is smarter than him, I. replies: “No, simpler and bolder,” thereby expressing almost the defining line of their relationship.

I. hardly knows herself that the feeling she experiences is more reminiscent of a complex experiment than first love. She does not tell Oblomov that all matters on her estate have been settled, with only one goal - “... to follow to the end how love will make a revolution in his lazy soul, how oppression will finally fall from him, how he will not resist his loved ones happiness..." But, like any experiment on a living soul, this experiment cannot be crowned with success.

I. needs to see his chosen one on a pedestal, above himself, and this, according to the author's concept, is impossible. Even Stolz, whom I. marries after an unsuccessful affair with Oblomov, only temporarily stands higher than she, and Goncharov emphasizes this. By the end, it becomes clear that I. will outgrow her husband both in terms of the strength of feelings and the depth of reflection on life.

Realizing how far her ideals diverge from the ideals of Oblomov, who dreams of living according to the old way of his native Oblomovka, I. is forced to abandon further experiments. “I loved the future Oblomov! she says to Ilya Ilyich. - You are meek, honest, Ilya; you are gentle ... like a dove; you hide your head under your wing - and you want nothing more; you are ready to coo all your life under the roof ... yes, I’m not like that: this is not enough for me, I need something else, but I don’t know what! This “something” will not leave I.: even after surviving a break with Oblomov and happily marrying Stolz, she will not calm down. There will come a moment when Stolz will also have to explain to his wife, the mother of two children, the mysterious “something” that haunts her restless soul. "The deep abyss of her soul" does not frighten, but disturbs Stolz. In I., whom he knew almost as a girl, for whom he first felt friendship, and then love, he gradually discovers new and unexpected depths. It is difficult for Stolz to get used to them, because his happiness with I. seems to be largely problematic.

It happens that I. is overcome by fear: “She was afraid to fall into something similar to Oblomov's apathy. But no matter how hard she tried to get rid of these moments of periodic numbness, sleep of the soul, no, no, yes, the dream of happiness would first sneak up on her, the blue night would surround her and envelop her in drowsiness, then again there would come a thoughtful stop, as if the rest of life, and then embarrassment, fear , languor, some deaf sadness, some vague, foggy questions will be heard in a restless head.

These confusions are quite consistent with the final reflection of the author, which makes one think about the future of the heroine: “Olga did not know ... the logic of resignation to blind fate and did not understand women's passions and hobbies. Once recognizing in the chosen person the dignity and rights to herself, she believed in him and therefore loved, but stopped believing - stopped loving, as happened with Oblomov ... But now she believed in Andrei not blindly, but with consciousness, and in him her ideal of masculine perfection was embodied ... That is why she would not bear a drop in the dignity she recognized; any false note in his character or mind would produce a tremendous dissonance. The destroyed building of happiness would have buried her under the ruins, or, if her strength had still survived, she would have searched ... "

Olga Sergeevna Ilyinskaya - from a series of female portraits of Goncharov, 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 sought to show the sensations that the presence of a young, pretty woman awakens. Secondly, he wanted to present in a possibly complete essay the female personality itself, capable of the moral re-creation of a man.

Fallen, exhausted, but still retaining many human feelings.

The beneficial influence of Olga 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 the new life pointed out by Olga, Oblomov submitted to the 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 contents to the inquisitive Olga.

How did Olga manage to make such a revolution in Oblomov? To answer this question, it is necessary to refer to the characteristics of Olga.

What kind of person was Olga Ilyinskaya? First of all, it is necessary to note the independence of her nature and the originality of her mind, which were the result of the fact that she lost her parents early, she went her own way. On this basis, Olga's inquisitiveness also developed, striking 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 speaks about the fact that women are not given an education. In these words, one can already feel a woman of the new time, striving to catch up with men in terms of education.

The ideological nature makes Olga related to 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 also grew, whom, not without the influence of Stolz, she set out to save from the prospect of mentally sinking and plunging into the mire of a near existence. Her break with Oblomov is also ideological, which she decided only when she was convinced that Oblomov would never be revived. In the same way, the dissatisfaction that at times covers Olga’s soul after her marriage stems from the same bright source: this is nothing more than a longing for an ideological cause, which the prudent and judicious Stolz could not give her.

But disappointment will never lead Olga to laziness and apathy. To do this, she has a strong enough will. Olga is characterized by determination, which allows her not to reckon with any obstacles in order to revive her 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 with Oblomov and coped with her heart, no matter how much it cost her, no matter how difficult it was to tear love out of her heart.

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

Plan of the article "Characteristics of Olga Ilyinskaya"

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

b) Heart:
- love for Oblomov,
- breaking up with him
- dissatisfaction
- disappointment.

c) Will:
- decisiveness
- hardness.

Conclusion. Olga, as a type of new woman.