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 features as a conscious outlook on life, perseverance in the struggle for the set goal, inquisitiveness of mind, depth of feeling and femininity, indeed, make her image one of the most harmonious, bright images of a girl in Russian literature of the 19th century. Goncharov lovingly draws a portrait of his heroine. Noting that Olga in the strict sense was not a beauty, he writes further: "But if she were turned into a statue, it would be a statue of grace and harmony." Olga fell in love with Oblomov. Readers sometimes have a question: how could such a smart, serious girl fall in love with Oblomov, an idler, incapable of life? It should not be forgotten that Oblomov had a number of positive qualities: he was smart, well educated, spoke French well and read books in English. Oblomov's laziness, which Olga knew at first only from the words of Stolz, could seem to her a completely correctable shortcoming. Finally, Olga's very love for Oblomov arose precisely on the basis of noble aspirations to re-educate Oblomov, to resurrect him for normal activity.
Oblomov is the first to confess his love to Olga. A little 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, a duty, therefore, love is also a duty.” Love fills her life with new content, illuminates it with some new light. Life now seems to Olga deeper and more meaningful, as if she had read a big book. When Olga realized that in a conscious attitude to life she 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 "beam of light" for Oblomov. She called and "pushed him forward." Her perseverance defeats Oblomov's laziness for a while. Olga makes him read newspapers and books and tell her their content, takes Oblomov for walks around the outskirts of St. Petersburg, prompting his companion to climb every hillock. Oblomov complains: "Every day, ten miles on foot." At the request of Olga, he visits museums, shops, and at home writes business letters to the headman in the estate. Olga seeks from Oblomov both physical movement and mental work. She compares her role to that of a doctor saving a sick person. The behavior of the weak-willed Oblomov gives her a lot of suffering. Seeing the indecisiveness of Oblomov’s actions, she sadly admits to him that she is “lost in thoughts” and that “her mind and hope go out”. When Oblomov, hesitantly putting aside the issue of the wedding, declares to Olga that "some more year" will pass and Olga will become his wife, Olga's eyes open. She realized that her dream of re-educating Oblomov had been shattered by 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 like a dove, you hide your head under your wing - and you don’t want anything else, 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 what - I don’t know!” The author explains further: “Having once recognized in the chosen person the dignity and rights to herself, she believed in him and therefore loved, but stopped believing, and stopped loving, as happened with Oblomov.”
The gap crippled the strength of both Oblomov and Olga: Oblomov fell ill with a fever, and her aunt took the sick Olga abroad. In Paris, Olga met Stolz. Time softened the bitterness of her disappointment in Oblomov, and she became the wife of Stolz - a man who corresponded to her ideal husband. It would seem that now Olga could become a completely happy woman. Stoltz created for her a life full of comfort and tranquility. However, the serene peace that Stoltz surrounded her begins to embarrass and torment her. Olga is not satisfied with a calm, serene personal life. Stolz is frightened by "rebellious questions", i.e., what worried the thought of progressive public figures at that time. And Olga is pulled precisely by “rebellious questions”. The thought of some other life, perhaps full of labor and deprivation, gradually matures in her, and she already mentally “measured 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.
His". The question of the future fate of Olga was a topic that went beyond the plot of the novel. This topic has therefore remained undeveloped. But the image of Olga is already clear to the reader. Dobrolyubov wrote: “Olga ... represents the highest ideal that a Russian artist can now evoke from the current Russian life ... In her, more 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. ”Olga is a type of Russian woman of that period of Russian life, when in Russia, under the influence of the growth of culture, the self-awareness of women began to awaken, when they felt their right to participate in social activities. Along with Turgenev's Natalya Lasunskaya ("Rudin") and Elena Stakhova ("On the Eve"), Olga Ilyinskaya belongs to the best, captivating images of a Russian woman created by our writers in the 50s of the 19th century. A different type of woman is given by Goncharov in the person of Agafya Matveevna Wheat Noah. Oblomov's love for her grew mainly on the basis of the lordly habits of Ilya Ilyich. Pshenitsyna, a kind, modest woman, an excellent housewife, a bourgeois by social status, was in awe of Oblomov. For her, Oblomov was a being of a higher order, the ideal of a gentleman. She was ready to become a slave to Ilya Ilyich and in deep devotion to him found joy and happiness. She, without hesitation, carried the last things to the pawnshop, if only Ilya Ilyich did not need anything. The atmosphere with which she surrounded Oblomov was somewhat reminiscent of Oblomovka. Here Ilya Ilyich found what was his life dream: the ideal of "the inviolable peace of life." Pshenitsyna could not rise to the realization that her love was Oblomov's death, irrevocably burying all his impulses for activity. She loved simply, thoughtlessly, wholeheartedly. This is the type of a modest, selfless woman-hostess, whose whole outlook was limited only to the world of family concerns and philistine well-being.
Olga Ilyinskaya and Pshenitsyna are just as opposite as Oblomov and Stolz. There is a deep meaning in this arrangement of female figures in the novel. Clever Olga, with her ideological impulses and serious demands, and patriarchal-quiet Pshenitsyna, each in their own way, help to reveal the idea of the novel, exposing the essence of Oblomovism.
Goncharov's novel is a wonderful example of the form of the novel. Oblomovism is characterized exhaustively and deeply. The choice of theme is an extremely important part of the creative process, since it is the theme that determines the social role of the work. The analysis of Oblomovism as a sad phenomenon of the feudal system and way of life was undoubtedly an important and timely topic. But one topic is still not enough to rive the attention of readers to the work. It is important to arrange and present the material of the topic in such a way that the reader follows the development of the topic with interest and excitement and is captured by the work. This shows the importance of the writer's skill and the artistic form of the work: its plot, composition, delineation of images, language, etc. What features characterize the artistic form of Goncharov's novel?
The plot of the novel is simple and clear. It consists in depicting the struggle in Oblomov of two feelings: love for Olga and an imperious desire for peace and laziness. The last one wins. The simplicity and naturalness of the plot of the novel is very successfully revealed by Dobrolyubov, setting out the entire content of the novel in the following words: “In the first part, Oblomov lies on the sofa; in the second, he goes to the Ilyinskys and falls in love with Olga, and she with him; in the third, she sees that she made a mistake in Oblomov, and they disperse; in the fourth, she marries his friend Stolz, and he marries the mistress of the house where he rents an apartment. That's all." Indeed, the main content of the novel comes down to this. The action of the main part of the novel lasts about eight years and refers to the 40s (1843-1851). The content of the entire novel, if we consider Oblomov's "prehistory" (i.e., the 6th and 9th chapters of the first part of the novel) and the epilogue, covers a huge period of time - about 37 years. This is not only the story of the hero's whole life, it is a whole era of Russian history. The content of the novel unfolds naturally, slowly and smoothly. Goncharov avoids artificial methods of entertainment and scenes designed for effect (mysterious encounters, extraordinary adventures, murders and suicides, etc.), which are usually resorted to by the authors of romantic stories and adventure novels in order to enhance the amusement of the work.
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.
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 indicated 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 sometimes engulfs 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.
In the image of Olga Ilinskaya, Goncharov embodied not only the best features of a real woman, but also all the best in a Russian person. The author writes that this girl was not a beauty in the truest sense of the word, "but ... if she were turned into a statue, she would be a statue of grace and harmony." Goncharov notes that this is a strong and courageous person who feels like a stranger in his environment, but this does not in the least prevent her from defending her position. “In a rare girl,” the author emphasizes, “you will meet such ... natural simplicity of a look, word, deed ... No affectation, no coquetry, no lies ...”
Love for Olga Ilyinskaya, first of all, is an opportunity to change a loved one, to make him better than he really is. And this is the tragedy of the heroine, since she demands the impossible from Oblomov: activity, energy and will. However, it should be noted that Olga herself is not ready to sacrifice herself for the sake of love, as Agafya Pshenitsyna does, for example. “You would like to know if I would sacrifice my calmness to you, if I would go along this path with you? .. Never, not for anything!” she says to Oblomov quite confidently.
Olga loves the Oblomov she created in her imagination. She is constantly trying to change the main character, but realizing that this is impossible, she retreats. Olga says to Ilya Ilyich: “I thought that I would revive you, that you could still live for me, but you had already died a long time ago ...” Thus, we can talk about a certain one-sided love of the heroine.
For her, love for Oblomov was a kind of mission that had to be fulfilled. But such an attitude towards a loved one could not be crowned with success, here we should talk about some selfishness of Olga. Goncharov is well aware that Ilyinskaya and Oblomov are too different people and the fact that their paths diverged is quite natural. Olga marries Stolz, but never becomes happy. She is overcome by melancholy, because even in marriage with the active Stolz her spiritual growth does not occur, as was the case during communication with Oblomov. Olga suffers from a similar situation, but nothing can be changed.
Thus, speaking about the character of Olga Ilyinskaya, one should note a kind of egoism, which in many ways makes her and her love vulnerable. The heroine becomes a victim of her own desire to change another person. But this is impossible, and this is her tragedy.
Roman I.A. Goncharov "Oblomov" was created for more than ten years (1846 - 1858). It explores the personality given in complex relationships with the environment and time. The protagonist of the novel, Ilya Ilyich Oblomov, lies whole on the sofa in his apartment on Gorokhovaya Street and does absolutely nothing. His world is limited only by the space of his apartment. Oblomov has accumulated urgent matters related to the transformation of his estate. He makes plans, but does nothing to carry them out. Such a life does not suit Oblomov, but he cannot and does not want to change anything in it: he is a gentleman, he is “not like everyone else”, he has the right to do nothing. But, at the same time, the hero is aware of the inferiority of his life. He is tormented by the question: “Why am I like this?” The chapter "Oblomov's Dream" gives an answer to this question. It describes in detail the childhood of the hero. It was there that the beginning of his destiny and the ideal of his life.
On the whole estate of Oblomov lies the seal of laziness and contentment. Interesting and indicative in this sense is the episode with the letter, which was once brought by a peasant who traveled to the city on business. The lady scolds him for bringing the letter, because there may be some unpleasant news.
Little Ilyusha sees himself in a dream as a seven-year-old boy. He is frisky and playful, he is curious about everything that happens around him. But the vigilant supervision of his mother and nanny prevents him from fulfilling his desires: “Nanny! Can’t you see that the child ran out into the sun!”
Then Ilya Ilyich sees himself as a boy of twelve or thirteen. And now it is already more difficult for him to resist, his mind has already almost understood that it is exactly the way his parents live that one should live. He does not want to study, because, firstly, he has to leave their home, and secondly, there is no reason to. After all, the main thing that his mother followed was that the child was cheerful, fat and healthy. Everything else was considered secondary.
Such a way of life, and most importantly, a way of thinking, is what the writer calls “Oblomovism”. This is far from an unambiguous concept. On the one hand, this is undoubtedly a negative phenomenon: all the vices of serfdom have merged in it. On the other hand, this is a certain type of Russian life, which can be characterized as patriarchal and idyllic. Closedness of space, cyclicity of the life circle, the predominance of physiological needs and the complete absence of spiritual ones - these are the characteristics of this world. There are many positive aspects in it, which Goncharov poeticizes: the gentleness, kindness and humanity of the Oblomovites, their love for their family, wide hospitality, calmness and peace.
Having got out of this world into the cold and cruel world of St. Petersburg, where he had to fight for his "place in the sun", Oblomov felt that he did not want to live like his St. Petersburg acquaintances. In many ways, he consciously chooses his position in life, not wanting to "dirty" about the dirt of modern cynical life. But, at the same time, Oblomov is afraid of real life, he is completely unsuited to it. In addition, feudal attitudes firmly “sat” in his head: I am a gentleman, which means I have the right to do nothing. All together, social and philosophical, gave rise to the character of Oblomov and such a phenomenon of Russian life as Oblomovism.
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 listened 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 that connects these characters is distinguished by sincere mutual attraction and trust. “... In a rare girl you will meet 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 a 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 to Vera, Goncharov's heroine similar to her, from The Cliff. The character of Olga, fused at the same time 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 the dramaturgy of A.P. Chekhov - 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 had left, then read the newspapers every day and tell her the news, write letters to the village, complete the estate plan, prepare 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 struck Stolz so much when he met her abroad, where she, together with her aunt, came 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 her 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 how 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 the almost 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 ... 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. 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, the sleep of the soul, no, no, yes, at first a dream of happiness would 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 kind of 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 her recognized virtues; any false note in his character or mind would produce a tremendous dissonance. The ruined building of happiness would have buried her under the ruins, or, if her strength had still survived, she would have searched ... "