The image of Olga Ilyinskaya. Oblomov characterization of the image of Olga Ilyinskaya Sergeevna Olga Ilyinskaya's husband crossword clue

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, which was rare. Nothing faked, 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 took place by leaps and bounds. Ilya Ilyich fell in love with her when he heard her splendidly sing an aria from Bellini's opera. He sank more and more into this new feeling.

Olga was confident in herself and wanted to change Oblomov, to make him an active person. On the occasion, she even drew up a reeducation plan. As Stolz wanted, positive changes really began to occur with his friend, and this was entirely Olga's merit. She was very proud of this and herself, too, began to transform. However, the girl did not understand that this was more a practical experience of 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 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 striving for development and a spiritually rich life.

One of the female portraits in the novel is the image of Olga Sergeevna Ilyinskaya, Stolz's acquaintance and Oblomov's beloved. Ilya Ilyich cannot forget this woman for a long time, he painted her portrait in his memory. “Olga in the strict sense was not a beauty, that is, there was neither whiteness in her, nor bright colors 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 a five-year-old child, with fingers in the form of grapes ... ”Goncharov, I.А. Oblomov. A novel in 4 parts. - M .: Fiction, 1984 .-- 493 p. - S. 202. Such a woman could not leave indifferent the main character, who has not been published for a long time.

Further, one can trace the look of IA Goncharov himself on the image of Olga: “Whoever met her, even absent-minded, stopped for a moment before this so strictly and deliberately, artistically created creature ... the nose formed a noticeably convex, graceful line; the lips are thin and mostly compressed ... the eyebrows gave a special beauty to the eyes ... these were two light brown, fluffy, almost straight stripes that rarely lay symmetrically ... "Ibid. - S. 202.

The motif of the statue can be traced here as well. Oblomov himself compares Olga with a statue of "grace and harmony". She “somewhat high growth strictly corresponds to the size of the head, the size of the head - the oval and size of the face; all this, in turn, was in harmony with the shoulders, the shoulders - with the camp ... ". But the researchers notice that Olga is not a statue. For her, there is another analogy - a machine.

As a statue, Ilyinskaya is certainly beautiful, but as a machine it is functional. Lyubov Oblomov seemed to curl the hero, but now the plant ends and the hero himself freezes. The hero's eyes no longer sparkle and tears "from words, from sounds, from this pure, strong girl's voice", from which the heart beat so much before.

IA Goncharov gives a portrait of the heroine at different moments of her life. Here she sings “Her cheeks and ears were red with excitement; sometimes on her fresh face the play of lightning of the heart suddenly flashed, a ray of such mature passion flashed, as if her heart was experiencing a distant future time of life, and suddenly this instant ray extinguished again, again the voice sounded fresh and silvery ", the author describes and" the awakening of the heroine's soul "When she understands Oblomov's feelings:" ... her face was gradually filled with consciousness; a ray of thought, guesses made its way into every feature, and suddenly the whole face was illuminated with consciousness ... The sun also sometimes, coming out from behind a cloud, gradually illuminates one bush, another, the roof, and suddenly it will shower the whole landscape with light ... ”. But a completely different Olga after a farewell conversation with Oblomov "she changed in her face: two pink spots disappeared, and her eyes faded ... she violently pulled a branch from the tree in passing, tore off her lips ...". This shows all the frustration, excitement and even annoyance of the heroine.

Olga Ilyinskaya also changes during her acquaintance with Ilya Oblomov. If at first, before the recognition of Ilya Ilyich, she is light, always cheerful, alive, open and trusting "dependent" Stolz (he is her teacher), then after the recognition and subsequent separation from the main character she is thoughtful, restrained, persistent, firm, confident, restrained. She is no longer just a windy girl, but a woman.

The writer singles out in Olga Ilyinskaya two important, in his opinion, personality traits that are so lacking in modern women, and therefore are especially valuable. These are words and movements. They are presented quite convincingly in the novel. This is the talent of I.A. Goncharova.

The characterization of Olga Ilyinskaya in Goncharov's novel Oblomov makes it possible to better know and understand this character. This is the main female image that plays a significant role in the work.

Roman Goncharova

Olga Ilyinskaya's characterization is necessary in order to better understand the essence of this work.

It should be noted that Ivan Goncharov worked on the novel for 12 years - from 1847 to 1859. He entered his famous trilogy, along with "The Cliff" and "The Ordinary Story".

In many ways, Goncharov wrote "Oblomov" for so long because the work had to be interrupted constantly. Including because of the round-the-world trip, in which the writer went on This trip, he dedicated travel sketches, only after publishing them, he returned to writing "Oblomov". A significant breakthrough happened in the summer of 1857 at the Marienbad resort. There, in a few weeks, Goncharov completed most of the work.

The plot of the novel

The novel tells about the fate of the Russian landowner Ilya Ilyich Oblomov. He lives in St. Petersburg with his servant named Zakhar. He spends many days lying on the couch, sometimes without getting up from it at all. He does nothing, does not go out, but only dreams of a comfortable life on his estate. It seems that no amount of trouble can move him. Neither the decline in which his household comes, nor the threat of eviction from the St. Petersburg apartment.

His childhood friend named Andrei Stolts is trying to stir Oblomov. He is a representative of the Russified Germans, is the complete opposite of Oblomov. He is always very active and energetic. He forces Oblomov to go out for a while, where the landowner meets Olga Ilyinskaya, whose description is in this article. She is a modern and progressive-minded woman. After much deliberation, Oblomov decides and proposes to her.

Moving Oblomov

Ilyinskaya is not indifferent to Oblomov, but he spoils everything himself when he succumbs to the intrigues of Tarantiev and moves to the Vyborg side. At that time it was actually a rural suburb of the city.

Oblomov ends up in the house of Agafya Pshenitsyna, who eventually takes over his entire household. Ilya Ilyich himself is gradually fading away in complete inactivity and lack of will. Meanwhile, rumors about the upcoming wedding of the heroes are already circulating in the city. But when Ilyinskaya comes to his house, he is convinced that nothing will ever be able to awaken him. Their relationship then ends.

In addition, Oblomov is influenced by Pshenitsyna's brother Ivan Mukhoyarov, who confuses the protagonist in his machinations. Frustrated, Ilya Ilyich falls seriously ill; only Stolz saves him from complete ruin.

Oblomov's wife

After parting with Ilyinskaya, Oblomov will marry Pshenitsyna a year later. They have a son, who is named Andrei in honor of Stolz.

Disappointed in her first love, Ilyinskaya eventually marries Stolz. At the very end of the novel, he comes to visit Oblomov and finds his friend sick and completely broken. Due to a sedentary at an early age, he had a stroke, Ilya Ilyich anticipates his imminent death, asks Stolz not to leave his son.

Two years later, the main character dies in his sleep. His son is taken up by Stolz and Ilyinskaya. Oblomov's faithful servant Zakhar, who outlived his master, although he was much older than him, begins to drink and beg for alms from grief.

The image of Ilyinskaya

The characterization of Olga Ilyinskaya must begin with the fact that this is a bright and complex image. At the very beginning, the reader gets to know her as a young girl who is just beginning to develop. Throughout the novel, we can observe how she grows up, reveals herself as a woman and a mother, becomes an independent person.

As a child, Ilyinskaya receives a quality education. She reads a lot, understands in She is constantly in development, strives to achieve all the new goals. Everything in her speaks of her own dignity, beauty and inner strength.

Relationship with Oblomov

In the novel Oblomov, Olga Ilyinskaya, whose characterization is given in this article, appears before us as a very young girl. She learns the world around her, tries to figure out how everything works around.

The key point for her is her love for Oblomov. Olga Ilyinskaya, the character description you are reading now, has a strong and inspiring feeling. But it was doomed, because the young people did not want to accept each other as they really were. Instead, they created some ephemeral semi-ideal images that they fell in love with.

Why can't they decide on radical changes in themselves in order for their likely joint relationship to become a reality? For Olga herself, love for Oblomov becomes a duty, she believes that she is obliged to change the inner world of her lover, to re-educate him, turning him into a completely different person.

It is worth recognizing that, first of all, her love was based on selfishness and personal ambition. More important than feelings for Oblomov for her was the opportunity to rely on her achievements. She was interested in these relationships in the opportunity to change a person, to help him rise above himself, to turn into an active and energetic husband. It was about such a fate that Ilyinskaya dreamed.

In the novel "Oblomov" the comparative characteristics in the table of Olga Ilyinskaya and Pshenitsyna immediately makes it clear how dissimilar these heroines are.

Married to Stolz

As we know, nothing came of the relationship with Oblomov. Ilyinskaya married Stolz. Their romance developed slowly and began with a sincere friendship. Initially, Olga herself perceived Stolz more as a mentor, who was an inspiring figure for her, in her own way inaccessible.

In the characterization of Olga Ilyinskaya, a quote can be cited in order to better understand her relationship with Andrei. "He was too far ahead of her, too taller than her, so that her vanity sometimes suffered from this immaturity, from the distance in their mind and years" - this is how Goncharov writes about her attitude to Stolz.

This marriage helped her recover after breaking up with Oblomov. Their joint relationship looked logical, since the characters were similar in nature - both active and purposeful, this can be seen in the novel "Oblomov". The comparative characteristics of Olga Ilyinskaya and Agafya Pshenitsyna are given in this article below. It helps to better understand the actions of these characters.

Over time, everything changed. Stolz could no longer keep up with Olga, constantly striving forward. And Ilyinskaya began to become disillusioned with family life, with the very fate that was originally intended for her. At the same time, she finds herself as a mother for Oblomov's son, whom she, together with Stolz, takes into education after the death of Ilya Ilyich.

Comparison with Agafya Pshenitsyna

Citing the characteristics of Olga Ilyinskaya and Agafya Pshenitsyna, it should be noted that the second woman who fell in love with Oblomov was the widow of a minor official. She is an ideal housewife who cannot sit around, constantly taking care of cleanliness and order in the house.

At the same time, the comparative characteristics of Agafya Pshenitsyna and Olga Ilyinskaya will be in favor of the latter. After all, Agafya is a poorly educated, uncultured person. When Oblomov asks her about what she is reading, she only stares at him blankly, without answering anything. But she still attracted Oblomov. Most likely, the fact that fully corresponded to his usual way of life. She provided the most comfortable conditions for him - silence, delicious and plentiful food and peace. She becomes for him a gentle and caring nanny. At the same time, with her care and love, she finally killed the human feelings that had awakened in him, which Olga Ilyinskaya tried so hard to awaken. The characteristics in the table of these two heroines makes it possible to better understand them.

Comparison with Tatiana Larina

It is interesting that many researchers give a comparative description of Olga Ilyinskaya and Tatiana Larina. Indeed, if you do not go into details, at first glance, these heroines are very similar to each other. The reader is captivated by their simplicity, naturalness, indifference to secular life.

It is in Olga Ilyinskaya that those traits that traditionally attracted Russian writers to any woman appear. This is the absence of artificiality, living beauty. Ilyinskaya differs from women of her day in that she lacks the usual female domestic happiness.

She feels the hidden strength of character, she always has her own opinion, which she is ready to defend in any situation. Ilyinskaya continues the gallery of beautiful female images in Russian literature, which was opened by Pushkin's Tatyana Larina. These are morally flawless women who are faithful to duty, agree only to a compassionate life.

OBLOMOV

(Roman. 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 neither whiteness in her, nor bright colors of her cheeks and lips, and her eyes did not burn with rays of inner fire; there were no coral on the lips, no pearls in the mouth, no minature hands, like a five-year-old child, with fingers in the form of grapes. But if it were turned into a statue, it 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 “seemed to be listening to 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 captured by a girl inexplicably quickly. "

I. and Oblomov are introduced by Andrei Ivanovich Stolts. It is not known how, when and where Stolz and I. met, but the relations connecting these characters are distinguished by sincere mutual attraction and trust. “... In a rare girl you will find such simplicity and natural freedom of sight, speech, deed ... No pretense, no coquetry, no lies, no tinsel, no intent! But she was appreciated by almost only Stolz, but she spent more than one mazurka alone, not hiding boredom ... Some considered her simple, shorter, shallow, because neither wise maxims about life, about love, nor quick ones, fell from her tongue. unexpected and bold remarks, or read or overheard judgments about music and literature ... "

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

Oblomov in one of the 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 - Tatiana Larina ("Eugene Onegin"). But as a heroine of a different historical time, I. is more self-confident, her mind requires constant work. This was noted by N. A. Dobrolyubov in his article “What is Oblomovism?”: “Olga, in her development, represents the highest ideal that a Russian artist can now evoke from today's 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. in the novel is not given, just as it is not given to dispel the phenomena of a different order to the heroine of Goncharov, Vera from "The Break", similar to her. Olga's character, fused at the same time from strength and weakness, knowledge of 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 property of I., inherent in many female characters of 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 Stolz had left, then read the newspapers every day and tell her the news, write letters to the village, finish writing the plan for the estate, prepare to go abroad, - in a word, he will not doze off at her place; 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 she will do all this miracle, so timid, silent, to which no one has obeyed until now, who has not yet begun to live! .. She even shuddered from proud, joyful trembling; considered it a lesson assigned from above. "

Here you can compare her character with the character of Liza Kalitina from the novel by IS Turgenev "The Noble Nest", with Elena from his "On the Eve". Re-education becomes a goal, the goal carries away so much that everything else is pushed aside, and the feeling of love gradually submits to the teacher. In a sense, teaching enlarges and enriches love. It is from this that comes that serious change in I. that so struck Stolz when he met her abroad, where she arrived with her aunt after breaking up with Oblomov.

I. immediately understands that in relations with Oblomov she belongs to 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 will pour over a standing lake and be reflected in it." Life seems to wake up in I. along with Oblomov's life. But in her this process is going on much more intensively than in Ilya Ilyich. I. seems to be testing his capabilities as a woman and a teacher at the same time. Her extraordinary mind and soul require more and more "complex" food.

It is not by chance that at some point the Obkomov sees Cordelia in her: all I.'s feelings are permeated by a simple, natural, like Shakespeare's heroine, pride, which prompts to realize the treasures of my soul as a happy and deserved given: “What I once called my own 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 just loves, while Oblomov is constantly trying to figure out the depth of this love, which is why she suffers, believing that I. “loves now, as he embroiders on the canvas: the pattern is 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, it is easier and bolder,” thus expressing an almost defining line of their relationship.

I. hardly knows herself 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 on her estate have been settled, with only one purpose - “... to follow up 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 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, higher than himself, and this, according to the author's concept, is impossible. Even Stolz, whom after an unsuccessful romance with Oblomov I. marries, only temporarily stands higher than she, and Goncharov emphasizes this. By the end, it becomes clear that I. will outgrow her husband both in the strength of feelings and in the depth of reflections on life.

Realizing how far her ideals diverge from those of Oblomov, who dreams of living according to the old 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, honest, Ilya; you are gentle ... like a dove; you hide your head under the wing - and you want nothing more; you are ready to coo under the roof all your life ... but I am 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 having survived the break with Oblomov and happily married to Stolz, she will not calm down. The moment will come when Stolz will also have to explain to his wife, mother of two children, a 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 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 like Oblomov's apathy. But no matter how she tried to get rid of these moments of periodic numbness, sleep of the soul from her soul, no, no, let the dream of happiness creep up to her first, surround her with a blue night and envelop her in slumber, then again a thoughtful stop will come, as if the rest of life, and then embarrassment, fear , longing, some kind of dull sadness, some vague, vague questions in a restless head will be heard. "

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

Introduction

Olga Ilyinskaya in Goncharov's novel Oblomov is the most striking and complex female character. Getting to know her as a young, just developing girl, the reader sees her gradual maturation and disclosure as a woman, a mother, an independent personality. At the same time, a full characterization of the image of Olga in the novel "Oblomov" is possible only when working with quotations from the novel, which convey the appearance and personality of the heroine as capaciously as possible:

“If she were to be turned into a statue, she would be a statue of grace and harmony. The size of the head strictly corresponded to the somewhat high growth, the size of the head - the oval and the size of the face; all this, in turn, was in harmony with the shoulders, the shoulders - with the camp ... ".

When meeting Olga, people always stopped for a moment “before this so strictly and deliberately, artistically created being”.

Olga received a good upbringing and education, understands science and art, reads a lot and is in constant development, learning, achieving new and new goals. These features of her were reflected in the girl's appearance: “The lips are thin and for the most part compressed: a sign of continuous thought directed at something. The same presence of a speaking thought shone in the sharp-sighted, always vigorous, never letting through the gaze of dark, gray-blue eyes, "and unevenly spaced thin eyebrows created a small crease on the forehead" in which it seemed to say something, as if a thought rested there. "

Everything about her spoke of her own dignity, inner strength and beauty: “Olga walked with her head bent slightly forward, so slender, nobly resting on her thin, proud neck; she moved with her whole body evenly, walking lightly, almost imperceptibly. "

Love for Oblomov

The image of Olga Ilyinskaya in "Oblomov" appears at the beginning of the novel as a very young, little-known girl, with wide-open eyes looking at the world around her and trying to cognize it in all its manifestations. The turning point, which became for Olga a transition from childish shyness and some kind of embarrassment (as it was when communicating with Stolz), was the love for Oblomov. A wonderful, strong, inspiring feeling, which flashed with lightning speed between the lovers, was doomed to parting, since Olga and Oblomov did not want to accept each other as they really are, cultivating in themselves a feeling for the semi-ideal prototypes of real heroes.

For Ilyinsky, love for Oblomov was not associated with those feminine tenderness, gentleness, acceptance and care that Oblomov expected from her, but with a duty, the need to change the inner world of her beloved, to make him a completely different person:

“She dreamed of how she would“ order him to read the books ”that Stolz had left, then read the newspapers every day and tell her the news, write letters to the village, finish the plan of the estate, prepare to go abroad - in a word, he would not sleep with her; she will show him the goal, make him fall in love again with everything that he has stopped loving. "

"And all this miracle will be done by her, so timid, silent, to which no one has obeyed until now, who has not yet begun to live!"

Olga's love for Oblomov was based on the heroine's selfishness and ambitions. Moreover, her feelings for Ilya Ilyich can hardly be called true love - it was a fleeting love, a state of inspiration and rise in front of a new peak that she wanted to achieve. For Ilyinskaya, Oblomov's feelings were not really important, she wanted to make her ideal out of him, so that she could then be proud of the fruits of her labors and, perhaps, remind him afterwards that everything that he has owes to Olga.

Olga and Stolz

The relationship between Olga and Stolz developed from a tender, quivering friendship, when Andrei Ivanovich was a teacher for a girl, a mentor, an inspiring figure, in his own way distant and inaccessible: “When a question, bewilderment was born in her mind, she did not suddenly dare to believe him: he was too far ahead of her, too taller than her, so that her pride sometimes suffered from this immaturity, from the distance in their mind and years. "

The marriage with Stolz, which helped her to recover after parting with Ilya Ilyich, was logical, since the characters are very similar in character, life orientations and goals. Olga saw quiet, calm, endless happiness in her life with Stolz:

"She felt happiness and could not determine where the boundaries are, what it is."

"She, too, was walking alone, an imperceptible path, he also met her at the crossroads, gave her his hand and led her not into the shine of dazzling rays, but as if to the flood of a wide river, to vast fields and friendly smiling hills"

Having lived for several years together in cloudless, endless happiness, seeing in each other those ideals that they always dreamed of and those people who appeared to them in dreams, the heroes began to seem to move away from each other. It became hard for Stolz to reach for the inquisitive, continuously striving forward Olga, and the woman "began to sternly notice herself and realized that she was embarrassed by this silence of life, her stopping at minutes of happiness", asking questions: "Is it really necessary and possible to wish for something ? Where to go? Nowhere! There is no further way ... Really not, have you made the circle of life? Really everything is here ... everything ... ". The heroine begins to be disappointed in family life, in female destiny and in the fate that was prepared for her from birth, but continues to believe in her doubting husband and that their love will keep them together even in the most difficult hour:

“That unfading and unfading love lay mighty, like the force of life, on their faces - in the time of friendly sorrow it shone in the slowly and silently exchanged glance of collective suffering, was heard in endless mutual patience against life's torture, in restrained tears and muffled sobs.”

And although Goncharov does not describe in the novel how Olga and Stolz's further relationship developed, it can be briefly assumed that the woman either left her husband after some time, or lived the rest of her life unhappy, increasingly plunging into disappointment from the unattainability of those lofty goals, oh whom she dreamed of in her youth.

Conclusion

The image of Olga Ilyinskaya in the novel Oblomov by Goncharov is a new, to some extent feminist type of Russian woman who does not want to close herself off from the world, limiting herself to her household and family. A brief description of Olga in the novel is a woman-seeker, a woman-innovator, for whom “routine” family happiness and “Oblomovism” were indeed the most horrifying and frightening things that could lead to the degradation and stagnation of her forward-looking, cognitive personality. For the heroine, love was something secondary, stemming from friendship or inspiration, but not an original, leading feeling, and even less the meaning of life, as in Agafya Pshenitsyna's.

The tragedy of Olga's image lies in the fact that the society of the 19th century was not yet ready for the emergence of strong female personalities capable of changing the world on an equal basis with men, so she would still expect the same sleepy, monotonous family happiness that the girl feared so much.

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