Characteristics of Oblomov and Olga Ilinskaya table. Comparative characteristics of Olga Ilyinskaya and Agafya Pshenitsyna (based on Goncharov’s novel “Oblomov”)

Olga Sergeevna Ilyinskaya is one of the main heroines of the novel by I. A. Goncharov, Oblomov’s beloved, a bright and strong character. Ilyinskaya was not distinguished by her beauty, but she was quite graceful and harmonious. She had a sincere simplicity and naturalness that was rare. Nothing pretentious, no tinsel. The girl was orphaned early and lived in the house of her aunt, Marya Mikhailovna. It is unclear where and when Stolz 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 personality growth occurred by leaps and bounds. Ilya Ilyich fell in love with her after hearing her beautifully sing an aria from Bellini’s opera. He became more and more immersed in this new feeling.

Olga was confident in herself and definitely wanted to change Oblomov, make him an active person. For this occasion, she even drew up a re-education plan. As Stolz wanted, positive changes really began to occur with his friend, and this was entirely the merit of Olga. She was very proud of this and began to transform herself too. However, the girl did not understand that this was more of a practical experience in re-education than sincere love. Moreover, Ilyinskaya’s soul and mind needed further development, and Oblomov changed slowly and reluctantly. Their relationship was doomed to break. Even after marrying Stolz, she never stops 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 the eternal desire for development and a spiritually rich life.

OBLOMOV

(Novel. 1859)

Ilyinskaya Olga Sergeevna - one of the main heroines 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 no whiteness in her, no bright coloring 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 shape of grapes. But if she were turned into a statue, she would be a statue of grace and harmony.”

Since the time she was orphaned, I. has been living in the house of her aunt Marya Mikhailovna. Goncharov emphasizes the heroine’s rapid spiritual maturation: she “as if she was following the course of life by leaps and bounds. And every hour of the slightest, barely noticeable experience, an incident that flashes like a bird past a man’s nose, is grasped inexplicably quickly by a girl.”

Andrei Ivanovich Stolts 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 look, word, action... No affectation, no coquetry, no lies, no tinsel, no intent! But 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, unexpected and bold remarks, nor read or overheard judgments about music and literature..."

It is no coincidence that Stolz brings Oblomov to I.’s house: knowing that she has an inquisitive mind and deep feelings, he hopes that with her spiritual needs I. will be able to awaken Oblomov - make him read, watch, learn more and more discriminatingly.

In one of the very first meetings, Oblomov was captivated by her amazing voice - I. sings an aria from Bellini’s opera “Norma,” the famous “Casta diva,” and “this destroyed Oblomov: he was exhausted,” becoming more and more immersed in a new feeling for himself.

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

But this is not given to I. in the novel, just as it is not given to Goncharov’s similar heroine Vera from “The Precipice” to dispel phenomena of a different order. Olga’s character, 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 drama - in particular, in Elena Andreevna and Sonya Voinitskaya from “Uncle Vanya”.

The main quality of I., inherent in many female characters of Russian literature of the last century, is not just love for a specific 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 Stolz left, then read newspapers every day and tell her the news, write letters to the village, complete a plan for organizing the estate, get ready to go abroad, - in a word, he will not fall asleep with her; she will show him his goal, make him love again everything that he has stopped loving, and Stolz will not recognize him when he returns. And she will do all this miracle, so timid, silent, whom no one has listened to until now, who has not yet begun to live!.. She even trembled with proud, joyful trepidation; I considered this a lesson ordained from above.”

Here you can compare her character with the character of Lisa Kalitina from I. S. Turgenev’s novel “The Noble Nest”, with Elena from his “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 the teaching. Teaching, in a sense, enlarges and enriches love. It is from this that the serious change occurs in I. that so amazed Stolz when he met her abroad, where she arrived with her aunt after breaking up with Oblomov.

I. immediately understands that in her relationship with Oblomov she plays the main role, she “instantly 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 Oblomov’s life. But in her this process occurs much more intensely than in Ilya Ilyich. I. seems to be testing her capabilities as a woman and 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 of I.’s feelings are permeated by a simple, natural, like a Shakespearean heroine, pride, encouraging her to realize the treasures of her soul as a happy and well-deserved given: “What I once called mine is no longer I’ll give it back, maybe they’ll 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, which is why he suffers, believing that I. “loves now, like embroidering on canvas: the pattern comes out quietly, lazily, she is even lazier unfolds it, admires it, then puts it down and forgets.” 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 that the feeling she experiences is more reminiscent of a complex experiment than first love. She does not tell Oblomov that all the affairs of her estate have been settled, with only one goal - “...to see to the end how love will make a revolution in his lazy soul, how the oppression will finally fall from him, how he will not resist his loved one 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 romance with Oblomov, only temporarily stands higher than her, and Goncharov emphasizes this. By the end, it becomes clear that I. will outgrow her husband both in the strength of her feelings and in the depth of her thoughts about life.

Realizing how far her ideals diverge from the ideals of Oblomov, who dreams of living according to the ancient way of life of his native Oblomovka, I. is forced to abandon further experiments. “I loved the future Oblomov! - she says to Ilya Ilyich. - You are meek and honest, Ilya; you are gentle... like a dove; you hide your head under your wing - and don’t want anything more; you’re 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!” This “something” will not leave I.: even after surviving a break with Oblomov and happily marrying Stolz, she will not calm down. The moment will come when Stolz will be faced with the need to explain to his wife, mother of two children, the mysterious “something” that haunts her restless soul. “The deep abyss of her soul” does not frighten, but worries Stolz. In I., whom he knew almost as a girl, for whom he felt first friendship and then love, he gradually discovers new and unexpected depths. It is difficult for Stoltz to get used to them, therefore his happiness with I. seems problematic in many ways.

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 torpor, the sleep of the soul, no, no, but first a dream of happiness would creep up on her, surround her with the blue night and envelop her in drowsiness, then again there would be a thoughtful stop, as if the rest of life, and then embarrassment, fear , languor, some kind of dull sadness, some vague, foggy questions will be heard in a restless head.”

These turmoil are fully consistent with the author’s final reflection, which makes us think about the heroine’s future: “Olga did not know... the logic of submission to blind fate and did not understand women’s passions and hobbies. Having once recognized the dignity and rights to herself in the chosen person, she believed in him and therefore loved, and if she stopped believing, she stopped loving, as happened with Oblomov... But now she believed in Andrei not blindly, but with consciousness, and in him her ideal of male perfection was embodied... That is why she would not tolerate a decrease in the merits she recognized by even a hair; any false note in his character or mind would produce stunning dissonance. The destroyed building of happiness would have buried her under the rubble, or, if her strength had still survived, she would have searched..."

(375 words) In Goncharov’s work “Oblomov” we are introduced to two central female characters: Olga and Agafya. Despite the fact that they both have a romantic relationship with the main character, each of them is unique in their own unique nature. The contrast that arises between the characters not only complements the artistic picture of the novel, but also allows the reader to see Oblomov’s personality from two different perspectives.

Starting with the portrait characteristics of the heroines, the author emphasizes the obvious difference between them. Olga appears before us as a young beautiful girl with refined facial features, thanks to which Oblomov drew attention to her. A slender silhouette and easy gait are key attributes that complement Olga's appearance, while Agafya's appearance was not exceptional. Being a plump, middle-aged woman, she did not stand out from others. That is why the author speaks of her face as “simple.” However, physiological differences only frame the comparison of the two girls, which is full of contrasts. Discrepancies continue in their lifestyle, which is shaped based on their social status. As we know, Olga is a young noblewoman who has a small estate. We can say that she is literally at the beginning of her life's journey, which is why she is attracted to movement and adventure. Goncharov says that she is full of energy with which she charges everyone around. Agafya, on the contrary, is the wife of the late official, who is left with two children. All her income comes from the livestock she keeps at home. Despite the fact that she is an economical and active woman, and is constantly at work, she does not strive for her own intellectual development: she does not attend theaters, she is not interested in literature, and she does not write well in Russian. Agafya carries the image of a homely woman, a modern housewife. And Olga personifies the Russian aristocracy of the nineteenth century.

Differences in lifestyle and characters explain Oblomov’s nature, which is revealed in his relationships with them. Being with Olga, the hero was charged with energy, he had a desire to participate in the vibrant life of high society. But he couldn't hold out for long. Returning to his lazy routine, he began to burden the girl. The rhythms of life of the heroes simply did not coincide, so their relationship was obviously doomed. Oblomov needed someone who would take care of him, as his mother once did; someone who won't change the routine. This is exactly what he found in Agafya. The woman became the keeper of the hearth for him. She blew away specks of dust from him, fussed about the house and treated him like a gentleman. In his relationship with her, he found the “Oblomovism” he dreamed of.

The novel “Oblomov,” written in 1859 by Goncharov, reveals to us the life of a man looking for his place in society, but unable to find the right path. This novel shows us the conditions of landowner life and noble upbringing, which gives rise to laziness and apathy, and lack of will.
Oblomov is a cultured, smart, kind person. But laziness, fear of movement, inability to be active, and the substitution of vague daydreaming for life turned him into an idle couch potato. Over time, his soul becomes dead, despite his education and rich inner life. In general, this is quite natural, given that his dreams remain unfulfilled, that he has no desire to deal with shortcomings.
Olga is a smart, proud, proud girl. Seeing her, Oblomov, first of all, paid attention to her beauty, but when he heard her singing, he realized that he had fallen in love. Reading this moment, we can see some revival of his soul, some interest. Olga, for her part, appreciated Ilya’s pure soul and kind heart. Unfortunately, despite their mutual feelings, the heroes' love is doomed, because their views on life and general happiness were too different.
On Olga’s part, Oblomov’s interest came when, under an agreement with Stolz, she took Ilya’s life into her own hands. She liked the very idea that she, such a young and inexperienced girl, would revive a person like Oblomov. By the way, Olga’s character trait of naivety manifests itself here. She tried to change Ilya, to make him the way she needed him, the way Stolz would like to see him, but did not understand that he did not need this at all. Oblomov was only interested in the feelings that brought him closer to his native Oblomovka. Oblomovka, where the meaning of life is only in thoughts of food and sleep. Oblomovka, where there is care and warmth that does not require anything in return. Realizing that Olga will not be able to give him all this, she decides to write her a letter in which she wishes her real happiness, assuring her that all this is not real love, but only an “unconscious need to love.”
About their relationship Dobrolyubov wrote: “Olga left Oblomov when she stopped believing in him; she will leave Stolz too if she stops believing in him.” For Olga, love is a duty. As for Oblomov, his love - romantic, spiritual - portrayed Olga as an ideal, a dream. Life is contraindicated for such love. I would not even call it love, but falling in love - a temporary feeling.
Thus, by writing the letter, Ilya gave up happiness with Olga. But, despite this, their love did not disappear without a trace. She enriched the spiritual world of both, forcing them to think seriously about the meaning of life, which they later found: Olga - in life together with Stolz, and Oblomov - in the care, comfort and warmth of Agafya Pshenitsyna.

According to the tradition that has developed in Russian literature, love becomes a test for heroes and reveals new facets of characters. This tradition was followed by Pushkin (Onegin and Tatyana), Lermontov (Pechorin and Vera), Turgenev (Bazarov and Odintsova), Tolstoy (Bolkonsky and Natasha Rostova). This topic is also touched upon in Goncharov’s novel “Oblomov”. Using the example of the love of Ilya Ilyich Oblomov and Olga Ilyinskaya, the author showed how a person’s personality is revealed through this feeling.

Olga Ilyinskaya is a positive image of the novel. This is an intelligent girl with sincere, devoid of affectation, manners. She did not enjoy much success in the world; only Stolz was able to appreciate her. Andrei singled out Olga from other women because “she, although unconsciously, followed a simple, natural path of life... and did not shy away from the natural manifestation of thought, feeling, will...”

Oblomov, having met Olga, first of all drew attention to her beauty: “Whoever met her, even absent-minded, stopped for a moment before this so strictly and deliberately, artistically created creature.” When Oblomov heard her singing, love awakened in his heart: “From the words, from the sounds, from this pure, strong girlish voice, the heart beat, the nerves trembled, the eyes sparkled and swam with tears...” The thirst for life and love that sounded in Olga’s voice, echoed in Ilya Ilyich’s soul. Behind the harmonious appearance, he felt a beautiful soul, capable of deep feelings.

Thinking about his future life, Oblomov dreamed of a tall, slender woman with a quiet, proud look. Seeing Olga, he realized that his ideal and she were one person. For Oblomov, the highest harmony is peace, and Olga would be a statue of harmony, “if she were turned into a statue.” But she could not become a statue, and, imagining her in his “earthly paradise,” Oblomov began to understand that he would not succeed in an idyll.

The heroes' love was doomed from the very beginning. Ilya Ilyich Oblomov and Olga Ilyinskaya understood the meaning of life, love, family happiness differently. If for Oblomov love is a disease, a passion, then for Olga it is a duty. Ilya Ilyich fell in love with Olga deeply and sincerely, idolized her, gave her his whole self: “He gets up at seven o’clock, reads, carries books somewhere. There is no sleep, no fatigue, no boredom on his face. Even colors appeared on him, there was a sparkle in his eyes, something like courage or, at least, self-confidence. You can’t see the robe on him.”

A consistent calculation was visible in Olga’s feelings. Having agreed with Stolz, she took the life of Ilya Ilyich into her own hands. Despite his youth, she was able to discern in him an open heart, a kind soul, and “dovelike tenderness.” At the same time, she liked the very idea that it was she, a young and inexperienced girl, who would bring back to life a person like Oblomov. “She will show him a goal, make him love again everything that he has stopped loving, and Stolz will not recognize him when he returns. And she will do all this miracle, so timid, silent, whom no one has listened to until now, who has not yet begun to live! She is the culprit of this transformation!”

Olga tried to change Ilya Ilyich, but he needed feelings that would bring him closer to his native Oblomovka, the blessed corner of the earth where he grew up, where the meaning of life fits into thoughts about food, sleep, and idle conversations: care and warmth, requiring nothing in return. He found all this in Agafya Matveevna Pshenitsyna, and therefore became attached to her as to a fulfilled dream of returning.

Realizing how different their views on life are, Oblomov decides to write a letter to Olga, which becomes a real poetic work. This letter conveys a deep feeling and desire for happiness to the beloved girl. Knowing himself and Olga’s inexperience, in a letter he opens her eyes to the mistake and asks her not to make it: “Your present love is not true love, but future love. This is only an unconscious need to love...” But Olga understood Oblomov’s act differently - as fear of misfortune. She understands that anyone can fall out of love or fall in love with another person, but says that she cannot follow a person if there is a risk in doing so. And it is Olga who decides to break off their relationship. In the last conversation, she tells Ilya Ilyich that she loved the future Oblomov. Assessing the relationship between Oblomov and Olga, Dobrolyubov wrote: “Olga left Oblomov when she stopped believing in him; she will leave Stolz too if she stops believing in him.”

Having written the letter, Oblomov renounced happiness in the name of his beloved. Olga and Ilya separated, but their relationship had a profound impact on their future lives. Oblomov found happiness in the house of Agafya Matveevna, which became a second Oblomovka for him. He is ashamed of such a life, he understands that he lived it in vain, but it is too late to change anything.

The love of Olga and Oblomov enriched the spiritual world of both. But the greatest merit is that Ilya Ilyich contributed to the formation of Olga’s spiritual world. A few years after breaking up with Ilya, she confesses to Stolz: “I don’t love him as before, but there is something that I love in him, to which I seem to have remained faithful and will not change like others...” And in this reveals the full depth of her nature. Unlike Stolz, whose life goals have boundaries, people like Oblomov and Olga do not stop thinking about a person’s purpose all their lives and asking themselves the question: “What’s next?”

Materials about the writer’s work and the novel “Oblomov”.