Olga is a positive heroine of Oblomov. Essay plan - Who is the positive hero of Goncharov’s novel “Oblomov”? Characteristics of Olga Ilyinskaya (with plan)
Olga Ilyinskaya - socialite, she, like Nadenka Lyubetskaya, knows life from its bright side; she is wealthy and is not particularly interested in where her funds come from. Her life, however, is much more meaningful than the life of Nadenka or the wife of Aduev Sr.; she makes music and does it not because of fashion, but because she is able to enjoy the beauty of art; she reads a lot, follows literature and science. Her mind is constantly working; questions and bewilderments arise in it one after another, and Stolz and Oblomov barely have time to read everything necessary to explain the questions that interest her.
In general, her head prevails over her heart, and in this respect she is very suitable for Stolz; In her love for Oblomov, reason and a sense of pride play the main role. The latter feeling is generally one of its main drivers. On many occasions, she expresses this feeling of pride: she “would have cried and not fallen asleep at night if Oblomov had not praised her singing”; her pride prevents her from asking Oblomov directly about subjects that she does not fully understand; when Oblomov, after an involuntary declaration of love, tells her that this is not true, he greatly affects her pride; she is afraid to seem “petty, insignificant” to Stolz, telling him about ex-love to Oblomov. She meets with Oblomov and sets about reviving him; she likes the role of the savior, so beloved by women in general. She is carried away by her role and, at the same time, is carried away by Oblomov. This hobby continues as long as the latter shows signs of activity and life, as if he was really going to renounce his laziness and stagnation; Soon, however, Olga becomes convinced that Oblomov is hopeless, that all her efforts cannot be crowned with success, and with bitterness she must admit that she turned out to be insolvent, not strong enough in the matter of reviving him.
Here she herself sees that her love was not an immediate heartfelt affection, but rather a rational, head-like love; She loved her creation, the future Oblomov, in Oblomov. This is what she says to him at the moment of parting: “It hurts me so much, it hurts so much... But I don’t repent. I am punished for my pride. I relied too much on my own strength. I thought that I would revive you, that you could still live for me, but you have already died a long time ago. I didn't foresee this mistake. I kept waiting, hoping... I only found out recently that I loved what I wanted in you... what Stolz showed me, what we invented together with him... I loved the future Oblomov.”
After breaking up with Oblomov, she becomes Stolz's wife. The latter is taken up with her “additional education,” which consists in suppressing her youthful impulses and instilling in her a “strict understanding of life.” He finally succeeds, and they seem to be happy; but Olga is still not completely calm, she lacks something, she strives for something uncertain. She cannot drown out this feeling within herself either with entertainment or pleasure; The husband explains this by nerves, a global illness common to all humanity, which splashed on her in one drop. This desire for something uncertain reflected the peculiarity of Olga’s nature, her inability to remain at one level, her desire for further activity and improvement.
Olga's image is one of original images in our literature; This is a woman striving for activity, unable to remain a passive member of society.
N. Dyunkin, A. Novikov
Sources:
- We are writing essays based on the novel “Oblomov” by I. A. Goncharov. - M.: Gramotey, 2005.
Updated: 2012-02-09
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This is the image of a girl in whose character, as Dobrolyubov notes, “heart and will” harmoniously merged. The combination in Olga’s appearance of such traits as a conscientious outlook on life, perseverance in the struggle for a set goal, an inquisitive mind, depth of feeling and femininity, indeed, makes her image one of the most harmonious, bright images of a girl in Russian XIX literature V. Goncharov lovingly paints a portrait of his heroine. Noting that Olga was not a beauty in the strict sense, 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 slacker, a person incapable of life? We must not forget that Oblomov had whole line positive qualities: he was smart, fairly educated, spoke French well and read books in English language. Oblomov’s laziness, which Olga knew about at first only from Stoltz’s words, might 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 resurrect him for normal activities.
Oblomov is the first to confess his love to Olga. Somewhat later, Olga amends 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, and life... is a duty, an obligation, therefore love is also a duty.” Love fills her life with new content, illuminates it with some new light. Life now seems deeper and more meaningful to Olga, as if she had read big book. When Olga realized that in her conscious attitude to life she was higher than her loved one, she firmly set 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 persistence temporarily overcomes Oblomov’s laziness. Olga forces him to read newspapers and books and tell her their contents, takes Oblomov for walks around the outskirts of St. Petersburg, encouraging her companion to climb every hill. Oblomov complains: “Every day we walk ten miles.” At Olga’s request, he visits museums and shops, and writes at home. business letters elder to the estate. Olga seeks from Oblomov both physical movement and mental work. She compares her role to that of a doctor saving a patient. The behavior of the weak-willed Oblomov causes her a lot of suffering. Seeing the indecisiveness of Oblomov’s actions, she sadly admits to him that she is “lost in thoughts” and that “her mind and hope are extinguished.” When Oblomov, hesitantly pushing aside the question of the wedding, tells Olga that “just another year” will pass and Olga will become his wife, Olga’s eyes open. She realized that her dream of re-educating Oblomov was shattered due to his invincible laziness. A break with Oblomov became inevitable for her. Olga tells 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 don’t want anything 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 the dignity and rights to herself in the chosen person, she believed in him and therefore loved him, and if she stopped believing, she stopped loving, as happened with Oblomov.”
The breakup weakened the strength of both Oblomov and Olga: Oblomov fell ill with a fever, and the sick Olga was taken abroad by her aunt. 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 husband. It would seem that now Olga could become completely happy woman. Stolz created her a life full of comfort and tranquility. However, the serene peace with which Stolz surrounded her begins to confuse and torment her. Olga is not satisfied with a calm, serene personal life. Stolz is frightened by “rebellious questions,” i.e., what worried the thoughts of progressive public figures. And Olga is drawn precisely by “rebellious issues.” The thought of some other life, perhaps full of labor and hardship, was gradually ripening in her mind, and she was already mentally “measuring her strength” for the upcoming struggle. Dobrolyubov wrote: “Olga left Oblomov when she stopped believing in him, she will leave Stolz too if she stops believing in him.” Question about future fate Olga composed a theme that went beyond the plot of the novel. This topic therefore remained undeveloped. But Olga’s image is already clear to the reader. Dobrolyubov wrote: “Olga... represents highest ideal what a Russian artist can now evoke from present-day Russian life... In her, more 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.” Olga is the type of Russian woman of that period of Russian life, when in Russia, under the influence of the growth of culture, women’s self-awareness began to awaken, when they felt their right to participate in social activities. Along with Turgenev’s Natalya Lasunskaya (“Rudin”) and Elena Stakhova (“On the Eve”), Olga Ilyinskaya belongs to the best, captivating images of Russian women created by our writers in the 50s of the 19th century. A different type of woman was given by Goncharov in the person of Agafya Matveevna Wheat. Oblomov’s love for her grew mainly on the basis of Ilya Ilyich’s lordly habits. Pshenitsyna, a kind, modest woman, a wonderful housewife, a bourgeois 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 the slave of Ilya Ilyich and found joy and happiness in deep devotion to him. She, without hesitation, took the last things to the pawnshop, so that Ilya Ilyich would not need anything. The environment 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 was bringing death to Oblomov, irrevocably burying all his impulses for activity. She loved simply, thoughtlessly, selflessly. This is a type of modest, selfless housewife, whose entire horizons were limited only to the world of family concerns and philistine well-being.
Olga Ilyinskaya and Pshenitsyna are as opposite as Oblomov and Stolz. In this arrangement female figures in the novel there is deep meaning. Clever Olga, with her ideological impulses and serious demands, and patriarchal-quiet Pshenitsyna, each in their own way, help reveal the idea of the novel, revealing the essence of Oblomovism.
Goncharov's novel is a wonderful example of the form of a novel; the characteristics of Oblomovism are exhaustively and deeply given. The choice of topic is an extremely important aspect creative process, since it is the topic that determines public role works. Analysis of Oblomovism as a sad phenomenon serfdom and everyday life was undoubtedly an important and timely topic. But the topic alone is not enough to attract the attention of readers to the work. It is important to arrange and present the topic material so that the reader follows the development of the topic with interest and excitement and is captivated by the work. From this we can see 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 art form 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 the 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, outlining 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 Ilyinskys and falls in love with Olga, and she with him; in the third she sees that she was mistaken in Oblomov, and they part ways; in the fourth, she marries his friend Stolz, and he marries the mistress of the house where he rents an apartment.
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Possible prototype Ilyinskaya - Elizaveta Tolstaya, only love Goncharov, 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 her lips, no pearls in her mouth, no miniature hands, like at five year old child, with grape-shaped fingers. But if she were turned into a statue, she would be a statue of grace and harmony." From the time she was orphaned, Ilyina lives in the house of her aunt Marya Mikhailovna. Goncharov emphasizes the rapid spiritual maturation of the heroine: she "as if she was following the course of life by leaps and bounds , but by the hour. 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.” Ilyina and Oblomov are introduced by Andrei Ivanovich Stolts. How, when and where Stolts and Ilyina met is unknown, according to their relationship, connecting these characters are 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, and read or overheard judgments about music and literature..." Stolz brings Oblomov to Ilyina's house not by chance: knowing that she has an inquisitive mind and deep feelings, he hopes that Ilyina will be able to awaken Oblomov with her spiritual inquiries - will make him read, watch, learn more and more discriminatingly. Oblomov, in one of the very first meetings, is captivated by her amazing voice - Olga sings an aria from Bellini’s opera “Norma”, the famous “Casta diva” and “this destroyed Oblomov; he was exhausted,” plunging more and more into a new feeling for himself. Ilyina’s literary predecessor is Tatyana Larina (“Eugene Onegin”). But as a heroine of a different historical time, Ilyina is more confident in herself, her mind demands permanent job. 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...” 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 heroines of the dramaturgy of A.P. Chekhov - in particular, in Elena Andreevna and Sonya Voipitskaya from “Uncle Vanya”. The main property of Ilyina, inherent in many female characters Russian literature of the last century - 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 behind, then read newspapers every day and tell her the news, write letters and the village, complete a plan for organizing the estate, get ready to go abroad - in a word, he would not fall asleep with her; she will show him his goal, make him fall in love again with 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, to whom no one has listened until now, who has not yet begun to live!.. She even shuddered with proud, joyful trepidation; she considered this a lesson ordained from above.” 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 Olga that so amazed Stolz when he met her abroad, where she arrived with her aunt after breaking up with Oblomov. Ilyina immediately understands that in her relationship with Oblomov she belongs 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 the stagnant lake and be reflected in it.” Life seems to wake up in Olga along with Oblomov’s life. But in her this process occurs much more intensely than in Ilya Ilyich. It’s as if Ilyina is 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 Oblomov sees... her Cordelia: all Ilya’s feelings are permeated by simple, natural, like Shakespearean heroine , pride that encourages you to realize the treasures of your soul as a happy and well-deserved given: “What I once called mine, I won’t give it back, unless they take it away...” she says to Oblomov. Ilyina’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 Ilyina “loves now, like embroidering on a canvas: a pattern comes out quietly, lazily, she unfolds it even more lazily , admires it, then puts it down and forgets." When Ilya Ilyich tells the heroine that she is smarter than him, Ilyina replies: “No, simpler and bolder,” thereby expressing almost the defining line of their relationship. Ilyina hardly knows that the feeling she is experiencing 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 the near happiness ..." But, like any experiment on a living soul, this experience cannot be crowned with success. Olga needs to see her chosen one on a pedestal, above herself, and this, according to the author's concept, is impossible. Even Stolz, for whom after an unsuccessful romance with Oblomov She gets married, only temporarily stands higher than her, and Goncharov emphasizes this. By the end, it becomes clear that And 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 Oblomov’s ideals, dreaming of living according to the ancient way of life of her native Oblomovka, Ilyina 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 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!” This “something” will not leave Ilyina: even after surviving a break with Oblomov and happily Having married Stolz, she will not calm down. The moment will come when Stolz will 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 worries Stolts. In Ilyina, 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 Stolts to get used to them, therefore his happiness with Olga seems in many ways problematic. It happens that Ilyina 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, the sleep of the soul, from her soul, no, no, but first a dream of happiness would creep up on her, a blue one would surround her. the night will be enveloped in drowsiness, then again there will be a thoughtful pause, as if the rest of life, and then confusion, fear, languor, some kind of dull sadness, some vague, foggy questions will be heard in the restless head. These turmoil are fully consistent with the author’s final reflection, which makes one think about the future of the heroine: “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 That’s why she loved, but when she stopped believing, she stopped loving, as happened with Oblomov... But now she believed in Andrei not blindly, but with consciousness, and her ideal of male perfection was embodied in him... That’s why she would not have tolerated any reduction in hair of recognized merits; every false note would have produced a stunning dissonance in his character or mind, the destroyed edifice of happiness would have buried her under the rubble, or, if her strength had still survived, she would have searched..."
Ilya Ilyich Oblomov and Olga Ilyinskaya, the heroes of Goncharov’s novel “Oblomov,” understand the meaning of life, love, and family happiness in different ways.
Oblomov was born in Oblomovka - a “blessed” corner of the earth. He was raised by nature, the care and affection of his mother, and his nanny’s fairy tales, which later became his dreams. Oblomov - Difficult person. He didn't like social life, believed that in this pursuit of a career and money a person is lost.
“Why am I more guilty than them, lying at home and not infecting my head with threes and jacks?” - Ilya Ilyich asked Stolz. And while lying down he dreamed. Sometimes imagining himself as some kind of liberator whom everyone worships, sometimes thinking about the quiet family happiness with my wife, children and friends.
Having met and fallen in love with Olga, Oblomov 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.” He was afraid of causing her inconvenience, he idolized her.
And what about Olga? How did she manage to “wake up” Oblomov? Having agreed with Stolz, she took the life of Ilya Ilyich into her own hands. On the one hand, she liked him. In general, Oblomov’s “dovelike tenderness” attracted people, he was interesting conversationalist without even knowing latest gossip without reading “fashionable” books. But, on the other hand, she liked the very idea that it was she, young and inexperienced girl, will 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!”
Oblomov was sincere and noble in love. Knowing himself, Olga’s inexperience, he writes a letter and opens her eyes to the mistake, asks her not to make it: “Your present love is not real love, but the future. This is only an unconscious need to love...” But Olga, changing the meaning of the letter, speaks of Oblomov’s fear of misfortune. She does not deny that anyone can fall out of love or fall in love with another person; she is not able to follow a person if there is a risk in doing so. To confirm these words, Olga leaves Oblomov, realizing that his “awakening” is temporary, and that she cannot withstand “Oblomovism.”
In relations with Oblomov, Olga was, as it were, the head. Having chosen Stolz, she is trying to find a husband of equal rights, or, even worse for Olga, a husband who is trying to subjugate her. At first, Olga finds happiness in Stolz, but as they get to know each other, she begins to understand that there is nothing special in life with him, that she is the same as others.
How does Stolz react to this? This young man is undoubtedly similar to his father, who tried to make him a man who understands not feelings, but actions. Stolz lives by reason, not demanding anything supernatural from life. “He walked firmly, cheerfully; I lived on a budget, trying to spend every day, like every ruble...”
All the time he sees in Olga a child whom he amuses and teaches. But she is changing, and, trying to understand what is now the meaning of life for her, Stolz falls in love with Olga.
Having learned about the affair with Oblomov, he sighs with relief: “My God, if I had known that this was about Oblomov, would I have suffered so much!”
Having married Olga, Stolz finds happiness. Now he has everything. But Olga becomes more and more disappointed every day. She knows that there will be nothing new, and more and more often she indulges in memories of Oblomov. Olga asks herself: “Have you really completed the circle of life?” Life goals Stolz has boundaries, and, having learned about the torment of his wife, he answers her: “We are not Titans with you... we will not go... to a daring struggle with rebellious issues, we will not accept their challenge, we will bow our heads and humbly survive Hard time...”
Oblomov finds 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 Oblomov and Olga was doomed from the very beginning.
Oblomov’s feelings were sincere, and Olga’s feelings showed consistent calculation. Olga tried to change Ilya Ilyich, but he needed a different feeling that connected him with his beloved Oblomovka, where the meaning of life fits into thoughts about food, sleep, and idle conversations. He needed care, warmth, requiring nothing in return, and therefore he became attached to his mistress as to a fulfilled dream of returning.
Although Oblomov is the first to understand the dissimilarity of their characters, it is Olga who breaks the relationship between them. In the last conversation, Olga 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.”
“Stolz and Oblomov” - Oblomov and Stolz.
“Oblomov in Goncharov’s novel” - The image of Olga Ilyinskaya - creative luck I.A. Goncharova. In 1849, the first part of the novel was written. Oblomov's love story. As a child, Ilyusha Oblomov was a lively and inquisitive child. Oblomov's dream. Oblomov and Stolz. The biggest changes happen to Olga after meeting Oblomov. The second and third parts are devoted to the love story of Oblomov and Olga Ilyinskaya.
“Roman Goncharova Oblomov” - -Large in volume epic work, literary genre. « Noble Nest" Turgeneva I.S. 1859. IN " Domestic notes"The novel "Oblomov" was published. Secret Committee for Peasant Affairs. Grigoriev A.A. 1859 1868 1869 1869 1872 1878 1879 1889. Service in the Ministry of Finance. Roman "Oblomov".
“Goncharov’s novel Oblomov” - Oblomov’s visitors. What details of Oblomov’s portrait would you note? HOW TO LIVE? (The dispute of the heroes in chapters 3-4. “Stolz is the antidote to Oblomov” N. Dobrolyubov. Author’s attitude. Patriarchal. Critics write. Feudal orders, inertia and monotony of landowner life. A V. Druzhinin. Bourgeois. “Olga is a moderate, balanced missionary .
“Oblomov Goncharova” - Episode analysis plan. Room (interior). Ilya Ilyich Oblomov. A. V. Druzhinin, liberal critic. An ordinary story(1844 – 1846). Precipice (1868). Novel "Oblomov". Contemporaries about the novel "Oblomov". Article "Oblomov", novel by Goncharov." During 1958, work on the novel began. N. A. Dobrolyubov.
“Oblomov” - Read chapters 5 – 6 and tell about Oblomov according to plan: I. A. Goncharov “Oblomov”. Portrait as a means of creating an image. What is a portrait? Love story. Materials for lessons. Olga Ilyinskaya and Ilya Oblomov. Observe how the portrait reflects the characters. Analysis of the episode “Oblomov’s Dream” (Chapter 9). Identify the similarities and differences between Oblomov and Stolz and fill out the table.
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