Material for composition. Ilyinskaya Olga Sergeevna - characteristics of a literary hero (character)

Olga Ilyinskaya is the culprit of some shake-up that Oblomov had to endure before plunging into his complete peace of Oblomovshchina (see article Olga and Oblomov). Olga is presented in the book as a girl with willpower and an active mind. What she has in common with Stolz is an independent nature and a love for an active life, full of movement and work. She is brought closer to Oblomov by her penchant for art, for general issues life, love of nature. Being proud and active, Olga loved to set herself difficult tasks in life and achieve their implementation. One of these tasks was to revive Oblomov to a new life, save him from Oblomovism, introduce activity and living movement into his life.

Goncharov. Oblomov. Summary

At first, Olga’s attempt was a success: having felt the charm of this smart and talented girl, Oblomov seemed to be resurrected. He leaves his sofa, his dusty rooms, he is on his feet all day, wanders with Olga, listens to music, makes plans for a bright future. But when the habits of her previous life take over this attempt to be reborn, Olga’s rationality turns out to be stronger than love to Oblomov. She writes him a letter in which she logically and in excellent literary form proves that she needs a life different from what is possible with Oblomov, and breaks up with him. The fact that Olga marries Stolz and lives happily with her rational and dry practical husband emphasizes the element of rationality in her nature.

Olga, in spirit, is close to Turgenev’s heroines - Elena (“On the Eve”) and Natasha(“Rudin”). This is a strong nature that is not afraid of life. Her clear and free mind helps her understand people and the accidents of life. Dissatisfied with vulgarity and banality social life, with all her prejudices and decency, she wants to arrange her life herself so that she can breathe easily and those around her feel good. This independence in life is her characteristic feature, distinguishing her favorably from the named Turgenev heroines, who both need “leaders.”

Stolz recommended Oblomov to Olga's attention in the best possible way; He joked about his laziness and immobility, obviously without at first attaching much fatal significance to these traits, but he praised the bright sides of his soul. He tried to interest Olga Oblomov, because he considered the influence of this smart, energetic and kind girl useful for his friend. And so, having met Oblomov, having independently looked into his soul, Olga was convinced that the description made by Stolz was correct - that Oblomov was indeed “kind, smart, gentle, noble man" A proud dream arose in her smart head - to do “the job” - to return her to a fruitful field cultural life this “good” person, only temporarily, as it seemed to her, evading the common human work for the benefit of the whole world.

First with a good-natured laugh, then with sincere affection, partly with coquetry, she really inspired Oblomov for a while, who was still under the influence of Stolz at that time. Oblomov not only resurrected spiritually, but even experienced a new feeling for himself - Love to Olga. And she also fell in love with him, but in this love there was some kind of condescension, something like mother's love to a child who has recovered from an illness. It was not a passion that subjugates man to man.

Introduction

Olga Ilyinskaya in Goncharov’s novel “Oblomov” is the most striking and complex female character. Getting to know her as a young, only developing girl, the reader sees her gradual maturation and revelation as a woman, mother, and independent person. Wherein full characteristics the image of Olga in the novel “Oblomov” is possible only when working with quotes from the novel that most succinctly convey the appearance and personality of the heroine:

“If she were turned into a statue, she would be a statue of grace and harmony. The size of the head strictly corresponded to a somewhat tall stature; the size of the head corresponded to the oval and size of the face; all this, in turn, was in harmony with the shoulders, and the shoulders with the body...”

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

Olga received 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 hers were reflected in the girl’s appearance: “The lips are thin and mostly compressed: a sign of a thought constantly directed at something. The same presence of a speaking thought shone in the vigilant, always cheerful, unmissing gaze of dark, gray-blue eyes,” and unevenly spaced thin eyebrows created a small fold on the forehead “in which something seemed to say, as if a thought rested there.” Everything about her spoke of dignity, inner strength and beauty: “Olga walked with her head tilted slightly forward, resting so slenderly and nobly on her thin, proud neck; she moved 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 still very young, little knowledgeable girl, with wide with open eyes looking at the world around us and trying to understand it in all its manifestations. The turning point, which became for Olga a transition from childhood shyness and a certain embarrassment (as was the case when communicating with Stoltz), became love for Oblomov. The wonderful, strong, inspiring feeling that flared up between the lovers with lightning speed 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 semi-ideal prototypes of real heroes.

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

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

“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!”

Olga's love for Oblomov was based on the heroine's selfishness and ambitions. Moreover, her feelings for Ilya Ilyich are difficult to name true love- it was a fleeting love, a state of inspiration and ascent before the new peak that she wanted to achieve. For Ilyinskaya, Oblomov’s feelings were not really important; she wanted to make him her ideal, so that she could then be proud of the fruits of her labors and, perhaps, remind him later that he owed everything he had to Olga.

Olga and Stolz

The relationship between Olga and Stolz developed from a tender, reverent friendship, when Andrei Ivanovich was for the girl a teacher, mentor, an inspiring figure, distant and inaccessible in his own way: “When a question or bewilderment arose in her mind, she did not suddenly decide 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 minds and years.”

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

“She experienced happiness and could not determine where the boundaries were, what it was.”

“She, too, walked alone, along an inconspicuous path, and he also met her at a crossroads, gave her his hand and led her out not into the brilliance of dazzling rays, but as if onto the flood of a wide river, to spacious fields and friendly smiling hills.”

Having lived together for several years in cloudless, endless happiness, seeing in each other those ideals that they had always dreamed of and those people who appeared in their dreams, the heroes began to seem to move away from each other. It became difficult for Stolz to reach out for the inquisitive Olga, constantly striving forward, and the woman “began to strictly notice herself and realized that she was embarrassed by this silence of life, its stopping at moments of happiness,” asking questions: “Is it really still necessary and possible to desire something?” ? Where should we go? Nowhere! There is no further road... Really, really, have you completed the circle of life? Is it really all here... everything....” The heroine begins to become disillusioned with family life, in a woman's destiny and in the fate that was destined 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 undying love lay powerfully, like the force of life, on their faces - in a 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 the further relationship between Olga and Stolz developed, one can briefly assume that after some time the woman either left her husband or lived the rest of her life unhappy, increasingly plunging into disappointment from the unattainability of those lofty goals about which I dreamed of in my 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 the 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 truly the most terrifying and frightening things that could lead to the degradation and stagnation of her forward-oriented, cognizing personality. For the heroine, love was something secondary, stemming from friendship or inspiration, but not an original, leading feeling, and certainly not the meaning of life, as with Agafya Pshenitsyna.

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 have been awaited by the same soporific, monotonous family happiness that the girl so feared.

Work test

Olga Sergeevna Ilyinskaya - from the series women's portraits Goncharova, a bright and memorable nature. By 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 as complete an outline as possible the female personality herself, capable of the moral re-creation of a man

Fallen, exhausted, but still retaining many human feelings.

Olga’s beneficial influence soon affected Oblomov: on the very first day of their acquaintance, Oblomov hated both the terrible disorder that reigned in his room and the sleepy lying on the sofa on which he clothed himself. Little by little, going into new life indicated by Olga, Oblomov submitted to his completely beloved woman, who recognized in him a pure heart, a clear, albeit inactive mind, and who 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 carry out such a revolution in Oblomov? To answer this question, you need to turn to Olga’s characteristics.

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 a consequence of the fact that, having lost her parents early, she followed her own firm path. On this basis, Olga’s inquisitiveness developed, which amazed those people with whom her fate encountered. Seized by a burning need to know as much as possible, Olga realizes the superficiality of her education and speaks bitterly of the fact that women are not given an education. In these words of hers one can already feel a woman of a new time, striving to be equal to men in terms of education.

The ideological nature makes Olga similar to Turgenev’s female characters. Life for Olga is an obligation and a duty. On the basis of such an attitude towards life, her love for Oblomov grew, whom, not without the influence of Stoltz, she set out to save from the prospect of mentally sinking and plunging into the mire of a short-lived existence. Her break with Oblomov is also ideological, which she decided to do only when she was convinced that Oblomov could never be revived. In the same way, the dissatisfaction that at times gripped Olga’s soul after she got married flows from the same bright source: it is nothing more than a longing for an ideological cause that the prudent and judicious Stolz could not give her.

But disappointment will never lead Olga to laziness and apathy. For this she has a strong enough will. Olga is characterized by determination, which allows her to disregard 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 up with Oblomov and dealt with her heart, no matter how dearly it cost her, no matter how difficult it was to tear love out of her heart.

As mentioned earlier, Olga is a woman of new times. Goncharov quite clearly expressed the need for this type of woman that existed at that time.

Outline of the article “Characteristics of Olga Ilyinskaya”

Main part. Olga's character
a) Mind:
- independence,
- thoughtfulness,
- curiosity,
- ideological,
- a sublime outlook on life.

b) Heart:
- love for Oblomov,
- breaking up with him,
- dissatisfaction,
- disappointment.

c) Will:
- determination,
- hardness.

Conclusion. Olga is like a type of new woman.

The characterization of Olga Ilyinskaya in Goncharov’s novel “Oblomov” allows us to better know and understand this character. This is the main female image that plays a significant role in the work.

Roman Goncharova

The characterization of Olga Ilyinskaya is necessary to better understand the essence of this work.

It is worth noting that Ivan Goncharov worked on the novel for 12 years - from 1847 to 1859. It was included in his famous trilogy, along with “The Precipice” and “An Ordinary Story.”

In many ways, Goncharov took so long to write “Oblomov” because the work had to be constantly interrupted. Also because of trip around the world, on which the writer went on this trip, he devoted travel essays; only after publishing them did he return to writing “Oblomov”. A significant breakthrough occurred in the summer of 1857 at the resort of Marienbad. There, in a few weeks, Goncharov finished most works.

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 sofa, sometimes without getting up from it at all. He doesn’t do anything, doesn’t go out into the world, but only dreams of a comfortable life on his estate. It seems that no troubles can move him from his place. Neither the decline into which his economy is falling, nor the threat of eviction from his St. Petersburg apartment.

His childhood friend named Andrei Stolts is trying to stir up Oblomov. He is a representative of the Russified Germans and is the complete opposite of Oblomov. Always very active and energetic. He forces Oblomov to go out into the world for a while, where the landowner meets Olga Ilyinskaya, whose characterization is in this article. This is a modern and progressive-minded woman. After much thought, Oblomov makes up his mind and proposes to her.

Oblomov's move

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

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

In addition, Oblomov finds himself under the influence of Pshenitsyna’s brother Ivan Mukhoyarov, who entangles the protagonist in his machinations. Upset, Ilya Ilyich becomes seriously ill, and only Stolz saves him from complete ruin.

Oblomov's wife

Having parted with Ilyinskaya, Oblomov married 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 sedentary early age he had a stroke, Ilya Ilyich has a presentiment of his imminent death, asks Stolz not to abandon his son.

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

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 watch how she grows up, reveals herself as a woman and mother, and becomes an independent person.

As a child, Ilyinskaya receives a quality education. She reads a lot, understands things. She is constantly developing, striving to achieve new goals. Everything about her speaks of her own dignity, beauty and inner strength.

Relations with Oblomov

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

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

Why can’t they decide to make fundamental changes in themselves so that their likely joint relationship becomes 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, 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 ambitions. More important than feelings to Oblomov she had the opportunity to revel in her achievements. She was interested in this relationship in the opportunity to change a person, to help him rise above himself, to turn into an active and energetic husband. This is exactly the fate Ilyinskaya dreamed of.

In the novel "Oblomov" the comparative characteristics in the table of Olga Ilyinskaya and Pshenitsyna immediately make it clear how different 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 sincere friendship. Initially, Olga herself perceived Stolz more as a mentor, who was an inspiring figure for her, inaccessible in his own way.

In Olga's profile Ilyinskaya quote can be cited to better understand her relationship with Andrei. “He was too far ahead of her, too taller than her, so her pride sometimes suffered from this immaturity, from the distance in their minds and years,” - this is how Goncharov writes about her attitude towards Stolz.

This marriage helped her recover from her breakup with Oblomov. Their joint relationship looked logical, since the heroes were similar in nature - both active and purposeful, this can be seen in the novel "Oblomov". A comparative description of Olga Ilyinskaya and Agafya Pshenitsyna is 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, who was constantly striving forward. And Ilyinskaya began to become disillusioned with family life, with the very fate that was originally destined for her. At the same time, she finds herself as a mother for her son Oblomov, whom she and Stolz take in for upbringing after the death of Ilya Ilyich.

Comparison with Agafya Pshenitsyna

When describing 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 idle and constantly takes care of the cleanliness and order in the house.

At the same time, a comparative description 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 just looks at him blankly, without answering. But she still attracted Oblomov. Most likely, because it fully corresponded to his usual way of life. She provided the most comfortable conditions for him - silence, tasty and plentiful food and peace. She becomes a tender and caring nanny for him. 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 of these two heroines in the table make it possible to better understand them.

Comparison with Tatyana Larina

Interestingly, many researchers give comparative characteristics Olga Ilyinskaya and Tatiana Larina. Indeed, without going into details, at first glance these heroines are very similar to each other. The reader is captivated by their simplicity, naturalness, and indifference to social life.

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

It feels hidden power character, she always has own opinion which she is ready to defend in any situation. Ilyinskaya continues the gallery of beautiful female images in Russian literature, which she discovered Pushkinskaya Tatiana Larina. These are morally impeccable women who are faithful to duty and agree only to a compassionate life.

Ilyinskaya Olga Sergeevna

OBLOMOV
Novel (1849-1857, published 1859)

Ilyinskaya Olga Sergeevna is one of the main heroines of the novel, bright and a strong character. Possible prototype of I. - 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 the lips, no pearls in the mouth, no miniature hands, like those of a five-year-old child, with fingers in the shape of grapes. But if she were turned into a statue, she would be a statue of grace and harmony.”

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

Andrei Ivanovich Stolts introduces I. and Oblomov. How, when and where Stolz and I. met is unknown, but the relationship connecting these characters is distinguished by sincere mutual attraction and trust. “...In a rare girl you will find such simplicity and natural freedom of look, word, action... No affectation, no coquetry, no lies, no tinsel, no intent! But almost only Stolz appreciated her, but she sat through more than one mazurka alone, not hiding her boredom... Some considered her simple, short-sighted, shallow, because neither wise maxims about life, about love, nor quick, unexpected and bold remarks, nor read or overheard judgments about music and literature..."

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 requests I. will be able to awaken Oblomov - will force him to read, watch, learn more and more legibly. Oblomov captured her in one of the first meetings amazing voice- I. 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.

I.’s literary predecessor is Tatyana Larina (“Eugene Onegin”). But like the heroine of another historical time, I. 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...”

But this I. is not given in the novel, just as Goncharov’s heroine Vera, similar to her, from “The Precipice” is not given the opportunity to dispel phenomena of a different order. Olga’s character, fused simultaneously from strength and weakness, knowledge about life and the inability to bestow this knowledge on others, will be developed in Russian literature - in the heroines of A.P. Chekhov’s drama - in particular, in Elena Andreevna and Sonya Voinitskaya from “Uncle Vanya”.

The main property of I., inherent in many female characters Russian literature of the last century is not just love for a specific person, but an indispensable desire to change him, raise him to his ideal, re-educate him, instilling in him new concepts, new tastes. Oblomov turns out to be the most suitable object for this: “She dreamed of how she would “order him to read the books” that Stolz left, then read newspapers every day and tell her the news, write letters to the village, complete a plan for organizing the estate, get ready to go abroad,” in a word, he will not fall asleep with her; she will show him 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 even trembled with proud, joyful trepidation; I considered this a lesson ordained from above.”

Here you can compare her character with the character of Liza Kalitina from the novel by I. S. Turgenev “ Noble Nest", 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 the teaching. Teaching, in a sense, enlarges and enriches love. This is exactly what happens” Shv. that serious change that so struck Stolz when he met her abroad, where she and her aunt arrived after the break with Oblomov.

I. 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.” It’s like life is waking up” Shv. along with Oblomov’s life. But in her this process occurs much more intensely than in Ilya Ilyich. I. seems to be testing her capabilities as a woman and teacher at the same time. Her extraordinary mind and soul require more and more “complex” food. It is no coincidence that at some point Oblomov sees Cordelia in her: all of I.’s feelings are permeated by a simple, natural, like a Shakespearean heroine, pride, prompting her to realize the treasures of her soul as a happy and well-deserved given: “What I once called mine is no longer I’ll give it back, maybe they’ll take it away...” she says to Oblomov.

“I.’s love for Oblomov is complete and harmonious: she simply loves, while Oblomov is constantly trying to find out the depth of this love, which is why he suffers, believing that I. “loves now, like embroidering on a canvas: a pattern comes out quietly, lazily, she still he unwraps it more lazily, admires it, then puts it down and forgets.” When Ilya Ilyich tells the heroine that she is smarter than him, I. replies: “No, simpler and bolder,” thereby expressing almost the defining line of their relationship.

I. hardly knows that the feeling she experiences is more reminiscent of a complex experiment than first love. She does not tell Oblomov that all the affairs of her estate have been settled, with only one goal - “...to see to the end how love will make a revolution in his lazy soul, how the oppression will finally fall from him, how he will not resist his loved one happiness..." But, like any experiment on a living soul, this experiment cannot be crowned with success. I. needs to see his chosen one on a pedestal, above himself, and this, according to the author’s concept, is impossible. Even Stolz, whom I. marries after an unsuccessful romance with Oblomov, only temporarily stands higher than her, and Goncharov emphasizes this. By the end, it becomes clear that I. will outgrow her husband both in the strength of her feelings and in the depth of her thoughts about life.

Realizing how far her ideals diverge from the ideals of Oblomov, who dreams of living according to the ancient way of life of his native Oblomovka, I. is forced to abandon further experiments. “I loved the future Oblomov! - she says to Ilya Ilyich. - You are meek and honest, Ilya; you are gentle... like a dove; you hide your head under your wing - and don’t want anything more; you’re ready to coo under the roof all your life... but I’m not like that: this is not enough for me, I need something else, but I don’t know what!” This "something" will not leave

I.: Even after surviving a break with Oblomov and happily marrying Stolz, she will not calm down. The moment will come when Stolz will be faced with the need to explain to his wife, mother of two children, the mysterious “something” that haunts her restless soul. “The deep abyss of her soul” does not frighten, but worries Stolz. In I., whom he knew almost as a girl, for whom he felt first friendship and then love, he gradually discovers new and unexpected depths. It is difficult for Stoltz to get used to them, therefore his happiness with I. seems problematic in many ways.

“It seems that I. is overcome by fear: “She was afraid to fall into something similar to Oblomov’s apathy. But no matter how hard she tried to get rid of these moments of periodic torpor, the sleep of the soul, no, no, but first a dream of happiness would creep up on her, surround her with the blue night and envelop her in drowsiness, then again there would be a thoughtful stop, as if the rest of life, and then embarrassment, fear , languor, some kind of dull sadness, some vague, foggy questions will be heard in a restless head.”