I. a, Goncharov is an ideal female character in the mind of I. A. Goncharova

She instantly weighed her power over him, and she liked this role guiding star, beam of light.

I. A. Goncharov

The novel "Oblomov" was published in 1859, when the issue of abolition of serfdom was extremely acute in the country, when Russian society has already fully realized the destructiveness of the existing order. “To analyze the female images created by I. A. Goncharov means to make a claim to the great experts on the female heart,” noted one of the most insightful Russian critics, N. A. Dobrolyubov.

The image of Olga Ilyinskaya embodied not only best features Russian woman, but also all the best that the writer saw in a Russian person. Olga was not a beauty, 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. But if she were turned into a statue, she would be a statue of harmony and grace. It is in Olga that we see all those features that have always attracted the attention of Russian writers in any woman: the absence of artificiality, beauty that is not frozen, but living. We can confidently say that Olga Ilyinskaya continues that gallery of beautiful female images, which was discovered by Tatyana Larina, and which will be admired by more than one generation of readers.

Olga is a stranger in her own environment. But she has both intelligence and determination to defend the right to her life position. It was Olga Oblomov who perceived as the embodiment of the ideal he dreamed of. The relationship of the novel's protagonist with Olga allows us to better understand the character of Ilya Oblomov. What does Olga see in Oblomov? At first, this man's painful inability to act sparks in her a desire to help a good but weak-willed man. She appreciates in Oblomov his intelligence, simplicity, gullibility, the absence of all those secular conventions that are also alien to her. She feels that there is no cynicism in him, but there is a constant desire for doubt and sympathy. Olga dreams that “she will show him a goal, make him fall in love with everything that he has stopped loving... He will live, act, bless life and her.” However, Olga and Oblomov are not destined to be happy. Oblomov has a presentiment that their relationship with Olga cannot always be only their personal matter, they will certainly turn into many conventions and responsibilities.

Olga constantly thinks about her feelings, about her influence on Oblomov, about her “mission”; love becomes a duty for her, and therefore can no longer be reckless, spontaneous. Moreover, Olga is not ready to sacrifice everything for the sake of love. “Would you like to know if I would sacrifice my peace of mind for you, if I would go along this path with you?.. Never, never!” - she decisively answers Oblomov. Oblomov and Olga expect the impossible from each other. It comes from him - activity, will, energy; in her opinion, he should become like Stolz, but at the same time retain the best that is in his soul. He is reckless from her, selfless love. Olga loves the Oblomov whom she created in her imagination, whom she sincerely wanted to create in life. “I thought that I would revive you, that you could still live for me, but you died a very long time ago,” Olga pronounces with difficulty and asks a bitter question: “Who cursed you, Ilya? What did you do? What ruined you? There is no name for this evil..." - “Yes,” answers Ilya. “Oblomovism!”

The tragedy of Olga and Oblomov becomes the final verdict on the phenomenon that Goncharov portrayed. Olga marries Stolz. It was he who managed to ensure that in Olga’s soul common sense and reason finally defeated the feeling that tormented her. Her life can be called happy. She believes in her husband, and therefore loves him. But Olga begins to feel an inexplicable melancholy. Stolz's mechanical, active life does not provide those opportunities for the movement of the soul that were in her feelings for Oblomov. And even Stolz guesses this: “Once you know him, it’s impossible to stop loving him.” With love for Oblomov, the best part of Olga’s soul dies; she forever remains a victim. “Olga, in her development, represents the highest ideal that only a Russian artist can now express from the current Russian life, a living person, only one we have not yet met,” wrote N. A. Dobrolyubov. - “... 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... Oblomovism is well known to her, she will be able to distinguish it in all forms, under all the masks, and... will find so much strength in herself to carry out merciless judgment on her...".

A work from the novel “Oblomov” by I. A. Goncharov. She instantly weighed her power over him, and she liked this role as a guiding star, a ray of light. I. A. Goncharov’s novel “Oblomov” was published in 1859, at a time when the issue of abolition of serfdom became extremely acute in the country, when Russian society had already fully realized the harmfulness of the existing order. “To analyze the female images created by I. A. Goncharov means to make a claim to the great experts on the female heart,” noted one of the most insightful Russian critics, N. A. Dobrolyubov. The image of Olga Ilyinskaya embodied not only the best features of a Russian woman, but also all the best that the writer saw in a Russian person. Olga was not a beauty, she had neither a white face, nor a bright coloring of her cheeks and lips, and her eyes did not glow with rays of inner fire. But if she were turned into a statue, she would be a statue of harmony and grace. It is in her that we see all those features that have always attracted the attention of Russian writers in any woman: the absence of falsehood, imaginary beauty, not frozen, but living beauty. Olga is a stranger in her own environment. But she has both intelligence and determination to defend the right to her position in life. It was Olga Oblomov who perceived as the embodiment of the ideal he dreamed of. The relationship of the novel's protagonist with Olga allows us to better understand the character of Ilya Oblomov.

What does Olga see in Oblomov’s character? Reason, simplicity, gullibility, the absence of all those secular conventions are also far from her. She feels that Ilya DOES NOT have cynicism, but there is a constant desire for doubt and sympathy. But Olga and Oblomov are not destined to be happy. Oblomov has a presentiment that their relationship with Olga cannot always be only their personal matter, they will certainly turn into many conventions and responsibilities. Olga constantly thinks not only about her feelings, but also about the influence on Oblomov, about her “mission”. And love becomes a duty for her, and therefore can no longer be reckless, spontaneous. Moreover, Olga is not ready to sacrifice everything for love. “Would you like to know if I would sacrifice my peace of mind for you, or if I would go down this path with you? .. Never, never! “She answers Oblomov decisively.

Oblomov and Olga expect the impossible from each other. It comes from him - activity, will, energy; in her mind, he should become like Stolz, but only retain all the best that is in his soul. He is from her - reckless, selfless love. Olga loves the Oblomov that she herself created in her imagination and sincerely wanted to create in life. “I thought that they would revive you, that you could still live for me, but you died a very long time ago,” Olga says forcefully and asks bitterly: “Who cursed you, Ilya? What did you do? What ruined you? There is no name for this evil...” “Yes,” answers Ilya. — Oblomovism “The tragedy of Olga and Oblomov becomes the final verdict on the phenomenon that Goncharov portrayed. Olga marries Stolz. It was he who managed to ensure that in Olga’s soul common sense and reason finally defeated the feeling that tormented her. her life can be called happy. She believes in her husband, and therefore loves him. But Olga begins to feel some kind of subconscious melancholy. Stolz's mechanical, active life does not provide those opportunities for the movements of the soul that were in her feelings for Oblomov. And even Stolz guesses this: “Once you know him, it’s impossible to stop loving him.” With love for Oblomov, the best part of Olga’s soul dies; she forever remains a victim.

“Olga, in her development, represents the highest ideal, which only a Russian artist can now express about truly Russian life, lives a face, only one that we have not yet met,” wrote N. Dobrolyubov. We can confidently say that Olga Ilyinskaya continues that gallery of beautiful female types, discovered by Tatyana Larina and which will be admired by more than one generation of readers.

She instantly weighed her power over him, and she liked this role as a guiding star, a ray of light.

I. A. Goncharov

The novel "Oblomov" was published in 1859, when the issue of abolition of serfdom was extremely acute in the country, when Russian society was already fully aware of the destructiveness of the existing order. “To analyze the female images created by I. A. Goncharov means to make a claim to the great experts on the female heart,” noted one of the most insightful Russian critics, N. A. Dobrolyubov.

The image of Olga Ilyinskaya embodied not only the best features of a Russian woman, but also all the best that the writer saw in a Russian person. Olga was not a beauty, 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. But if she were turned into a statue, she would be a statue of harmony and grace. It is in Olga that we see all those features that have always attracted the attention of Russian writers in any woman: the absence of artificiality, beauty that is not frozen, but living. We can confidently say that Olga Ilyinskaya continues the gallery of beautiful female images that Tatyana Larina opened, and which will be admired by more than one generation of readers.

Olga is a stranger in her own environment. But she has both intelligence and determination to defend the right to her position in life. It was Olga Oblomov who perceived as the embodiment of the ideal he dreamed of. The relationship of the novel's protagonist with Olga allows us to better understand the character of Ilya Oblomov. What does Olga see in Oblomov? At first, this man's painful inability to act sparks in her a desire to help a good but weak-willed man. She appreciates in Oblomov his intelligence, simplicity, gullibility, the absence of all those secular conventions that are also alien to her. She feels that there is no cynicism in him, but there is a constant desire for doubt and sympathy. Olga dreams that “she will show him a goal, make him fall in love with everything that he has stopped loving... He will live, act, bless life and her.” However, Olga and Oblomov are not destined to be happy. Oblomov has a presentiment that their relationship with Olga cannot always be only their personal matter, they will certainly turn into many conventions and responsibilities.

Olga constantly thinks about her feelings, about her influence on Oblomov, about her “mission”; love becomes a duty for her, and therefore can no longer be reckless, spontaneous. Moreover, Olga is not ready to sacrifice everything for the sake of love. “Would you like to know if I would sacrifice my peace of mind for you, if I would go along this path with you?.. Never, never!” - she decisively answers Oblomov. Oblomov and Olga expect the impossible from each other. It comes from him - activity, will, energy; in her opinion, he should become like Stolz, but at the same time preserve the best that is in his soul. He is from her - reckless, selfless love. Olga loves the Oblomov whom she created in her imagination, whom she sincerely wanted to create in life. “I thought that I would revive you, that you could still live for me, but you died a very long time ago,” Olga pronounces with difficulty and asks a bitter question: “Who cursed you, Ilya? What did you do? What ruined you? There is no name for this evil..." - “Yes,” answers Ilya. “Oblomovism!”

The tragedy of Olga and Oblomov becomes the final verdict on the phenomenon that Goncharov portrayed. Olga marries Stolz. It was he who managed to ensure that in Olga’s soul common sense and reason finally defeated the feeling that tormented her. Her life can be called happy. She believes in her husband, and therefore loves him. But Olga begins to feel an inexplicable melancholy. Stolz's mechanical, active life does not provide those opportunities for the movement of the soul that were in her feelings for Oblomov. And even Stolz guesses this: “Once you know him, it’s impossible to stop loving him.” With love for Oblomov, the best part of Olga’s soul dies; she forever remains a victim. “Olga, in her development, represents the highest ideal that only a Russian artist can now express from the current Russian life, a living person, only one we have not yet met,” wrote N. A. Dobrolyubov. - “... 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... Oblomovism is well known to her, she will be able to distinguish it in all forms, under all the masks, and... will find so much strength in herself to carry out merciless judgment on her...".

She instantly weighed her power over him, and she liked this role as a guiding star, a ray of light. I. A. Goncharov The novel “Oblomov” was published in 1859, when the issue of abolition of serfdom was extremely acute in the country, when Russian society was already fully aware of the destructiveness of the existing order. “To analyze the female images created by I. A. Goncharov means to make a claim to the great experts on the female heart,” noted one of the most insightful Russian critics, N. A. Dobrolyubov. The image of Olga Ilyinskaya embodied not only the best features of a Russian woman, but also all the best that the writer saw in a Russian person. Olga was not a beauty, 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. But if she were turned into a statue, she would be a statue of harmony and grace. It is in Olga that we see all those features that have always attracted the attention of Russian writers in any woman: the absence of artificiality, beauty that is not frozen, but living. We can confidently say that Olga Ilyinskaya continues the gallery of beautiful female images that Tatyana Larina opened, and which will be admired by more than one generation of readers. Olga is a stranger in her own environment. But she has both intelligence and determination to defend the right to her position in life. It was Olga Oblomov who perceived as the embodiment of the ideal he dreamed of. The relationship of the novel's protagonist with Olga allows us to better understand the character of Ilya Oblomov. What does Olga see in Oblomov? At first, this man's painful inability to act sparks in her a desire to help a good but weak-willed man. She appreciates in Oblomov his intelligence, simplicity, gullibility, the absence of all those secular conventions that are also alien to her. She feels that there is no cynicism in him, but there is a constant desire for doubt and sympathy. Olga dreams that “she will show him a goal, make him fall in love with everything that he has stopped loving... He will live, act, bless life and her.” However, Olga and Oblomov are not destined to be happy. Oblomov has a presentiment that their relationship with Olga cannot always be only their personal matter, they will certainly turn into many conventions and responsibilities. Olga constantly thinks about her feelings, about her influence on Oblomov, about her “mission”; love becomes a duty for her, and therefore can no longer be reckless, spontaneous. Moreover, Olga is not ready to sacrifice everything for the sake of love. “You would like to know if I would sacrifice my peace of mind for you, if I would go with you along this path? .. Never, never!” - she decisively answers Oblomov. Oblomov and Olga expect the impossible from each other. It comes from him - activity, will, energy; in her opinion, he should become like Stolz, but at the same time preserve the best that is in his soul. He is from her - reckless, selfless love. Olga loves the Oblomov whom she created in her imagination, whom she sincerely wanted to create in life. “I thought that I would revive you, that you could still live for me, but you died a very long time ago,” Olga pronounces with difficulty and asks a bitter question: “Who cursed you, Ilya? What did you do? What ruined you? There is no name for this evil...” “Yes,” answers Ilya. - Oblomovism!” The tragedy of Olga and Oblomov becomes the final verdict on the phenomenon that Goncharov portrayed. Olga marries Stolz. It was he who managed to ensure that in Olga’s soul common sense and reason finally defeated the feeling that tormented her. Her life can be called happy. She believes in her husband, and therefore loves him. But Olga begins to feel an inexplicable melancholy. Stolz's mechanical, active life does not provide those opportunities for the movement of the soul that were in her feelings for Oblomov. And even Stolz guesses this: “Once you know him, it’s impossible to stop loving him.” With love for Oblomov, the best part of Olga’s soul dies; she forever remains a victim. “Olga, in her development, represents the highest ideal that only a Russian artist can now express from the current Russian life, a living person, only one that we have not yet met,” wrote N. A. Dobrolyubov. - “... In her, more than in Stolz, one can see a hint of a new Russian life, from her one can expect a word that will burn and dispel Oblomovism... Oblomovism is well known to her, she will be able to distinguish it in all forms, under all masks, and... will find so much strength in herself to carry out merciless judgment on her..."

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She instantly weighed her power over him, and she liked this role as a guiding star, a ray of light. I. A. Goncharov The novel “Oblomov” was published in 1859, when the issue of abolition of serfdom was extremely acute in the country, when Russian society was already fully aware of the destructiveness of the existing order. “To analyze the female images created by I. A. Goncharov means to make a claim to the great experts on the female heart,” noted one of the most insightful Russian critics, N. A. Dobrolyubov. The image of Olga Ilyinskaya embodied not only the best features of a Russian woman, but also all the best that the writer saw in a Russian person. Olga was not a beauty, 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. But if she were turned into a statue, she would be a statue of harmony and grace. It is in Olga that we see all those features that have always attracted the attention of Russian writers in any woman: the absence of artificiality, beauty that is not frozen, but living. We can confidently declare that Olga Ilyinskaya continues the gallery of beautiful female images that Tatyana Larina opened, and which more than one generation of readers will admire. Olga is a stranger in her own environment. But she has both intelligence and determination to defend the right to her position in life. It was Olga Oblomov who perceived as the embodiment of the ideal he dreamed of. The relationship of the novel's protagonist with Olga allows us to better understand the character of Ilya Oblomov. What does Olga see in Oblomov? At first, this man's painful inability to act sparks in her a desire to help a good but weak-willed man. She appreciates in Oblomov his intelligence, simplicity, gullibility, the absence of all those secular conventions that are also alien to her. She feels that there is no cynicism in him, but there is a constant desire for doubt and sympathy. Olga dreams that "she will show him assigned task, will make him fall in love with everything that he has fallen out of love... He will live, act, bless life and her." However, Olga and Oblomov are not destined to be happy. Oblomov has a presentiment that their relationships relations with Olga cannot always be just their personal matter; they will certainly turn into a lot of conventions and responsibilities. Olga constantly thinks about her feelings, about her influence on Oblomov, about her “mission”; love becomes a duty for her, and therefore can no longer be reckless, spontaneous. Moreover, Olga is not ready to sacrifice everything for the sake of love. “Would you like to know if I would sacrifice my peace of mind for you, if I would go along this path with you?.. Never, never!” - she decisively answers Oblomov. Oblomov and Olga expect the impossible from each other. It comes from him - activity, will, energy; in her opinion, he should become like Stolz, but at the same time preserve the best that is in his soul. He is from her - reckless, selfless love. Olga loves the Oblomov whom she created in her imagination, whom she sincerely wanted to create in life. “I thought that I would revive you, that you could still live for me, but you died a very long time ago,” Olga pronounces with difficulty and asks a bitter question: “Who cursed you, Ilya? What did you do? What ruined you? There is no name for this evil..." - “Yes,” answers Ilya. “Oblomovism!” The tragedy of Olga and Oblomov becomes the final verdict on the phenomenon that Goncharov portrayed. Olga marries Stolz. It was he who managed to ensure that in Olga’s soul common sense and reason finally defeated the feeling that tormented her. Her life can be called happy. She believes in her husband, and therefore loves him. But Olga begins to feel an inexplicable melancholy. Stolz's mechanical, active life does not provide those opportunities for the movement of the soul that were in her feelings for Oblomov. And even Stolz guesses this: “Once you know him, it’s impossible to stop loving him.” With love for Oblomov, the best part of Olga’s soul dies; she forever remains a victim. “Olga, in her development, represents the highest ideal that only a Russian artist can now express from the current Russian life, a living person, only one we have not yet met,” wrote N. A. Dobrolyubov. - “... 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... Oblomovism is well known to her, she will be able to distinguish it in all forms, under all the masks, and... will find so much strength in herself to carry out merciless judgment on her...".