The character of "any novel". Olga Larina in the context of Pushkin's "Onegin"
GALLERY
Vyacheslav KOSHELEV,
Veliky Novgorod
The character of "any novel"
Olga Larina in the context of Pushkin's "Onegin"
That impromptu portrait of Olga, which Pushkin cites in the second chapter of Onegin (p. XXIII), seems to be a characteristic of an absolutely uninteresting girl - a completely “passing” character, introduced with a purely “plot” purpose: through Lensky and Olga, the thread of the story stretches to a truly extraordinary female character - to Tatyana. There is a lot to say about Olga, as if there is nothing:
Always humble, always obedient,
Always as cheerful as the morning
How simple is the life of a poet,
Like a kiss of love sweet
eyes like the sky is blue,
Smile, linen curls,
Movement, voice, light camp,
Everything in Olga ... but any novel
Take it and find it right
Her portrait: he is very sweet,
I used to love him myself
But he bored me immensely ...(VI, 41)
Before us is a common, quite traditional appearance of the “Russian beauty”, which is quite consistent with the sentimental and romantic template of the heroine of the works late XVIII - early XIX centuries. N.L. Brodsky, in his commentary on the novel, draws attention to the fact that Pushkin here focuses precisely on the “appearance” of Olga, which he conveys “details, too general, devoid of individualization”: “Poor in internal content, Olga’s portrait did not require in-depth disclosure” . V.V. Nabokov actually agrees with this statement, defining the description of Olga's appearance as a set of "stenciled rhetorical figures of similar descriptions in the European novel of that time with a recitative of enumerations, resolved by an enthusiastic "everything ...", and citing a number of examples from J. de Stael's novels "Dolphin ”, Ch. Nodier “Jean Sbogar”, O. Balzac “Thirty-year-old woman”, and at the same time from the poetry of E. Marvell, A. Ramsay, P.D. Ekuchar-Lebrun and A. Piron. Yu.M. Lotman adds Russian “examples” to this list: “Roman and Olga” by A.A. Bestuzhev, stories by N.M. Karamzin “Poor Lisa”, “Knight of our time”, “Beautiful princess and happy dwarf” and the like.
In a word, it is no coincidence that already in the draft manuscript of Onegin, Pushkin preferred to push off from the “boring” template and declared in principle new approach:
And new pencil I take
To describe her sister.
(VI, 289; emphasis mine. -VK.)
Meanwhile, from the surviving drafts of Onegin, it is clear that in the original plan of the story about the “adventures” of the hero (which were supposed to take place “in the Don Juan family”) there was no place at all for any “sister” of his hero’s beloved. Drawing the subject of Lensky's love sighs in the stanzas, which later received numbers from XX to XXIII (of the second chapter), Pushkin in workbook PD No. 834 on sheets 34-35 successively prescribed a more extensive sketch of the character of a woman who was to link her fate with the personality of Onegin suffering from "spleen". She has already received the name of Olga, but initial characteristic she is somewhat reminiscent of Tatiana's character. The image of a romantic beauty, inscribed in stanza XXIII, was preceded by two stanzas, which later migrated to the first white autograph and were already crossed out in it. The first of these rejected stanzas hinted at a possible tragic future for the heroine:
Who was the one whose eyes
He, without art, attracted,
Which he is both days and nights,
And devoted the thoughts of the heart
The younger daughter - neighbors of the poor -
Away from fun, harmful connections
Full of innocent beauty
In the eyes of her parents
Bloomed like a hidden lily of the valley -
Unknown in the grass deaf
Neither moths nor bees -
And maybe already doomed
Morning Dew Pet
To the blind [point] of the scythe.(VI, 287)
Olga in the final version of the novel in verse cannot be compared with a “hidden lily of the valley”: there is nothing “hidden” in her from the very beginning. V.V. Nabokov, commenting on the finale of this stanza, crossed out in the final version, remarked: “I wonder if Olga's fate, which we all now know about, was so obvious to Pushkin at that moment<…>I think that at that time Olga was still made up of two persons - Olga and Tatiana - and was the only daughter who (with inevitable literary consequences) was to be seduced by the scoundrel Onegin. In this set of variants, we observe the process of biological differentiation” . It seems worth agreeing with this hypothesis about the original idea of the novel plot: such a “move” fit very well into the narrative “in the Don Juan kind”.
Then, in the draft manuscript, there follows a stanza that tells about Olga's initial upbringing; it is significant that, having rewritten it in a white manuscript, Pushkin tried to “adapt” it to characterize Tatyana:
Not a fool of the English breed,
Nor wayward Mamzel
(In Russia, according to the statutes [fashion]
Necessary hitherto)
Olga was not spoiled by her sweetheart.
Fadeevna with a frail hand
She rocked the cradle
Made her a baby bed
Have mercy on me, you taught me to read,
Walked with her, in the middle of the night
Bovu told<ей>,
She followed Olga
Pouring tea in the morning
And spoiled by chance. (VI, 287–288)
It is significant that in the white autograph as part of this stanza there was also an indication of the appearance of the heroine: “She combed her gold curls” (VI, 566). “Reworking” the stanza to characterize Tatyana, Pushkin changed the “gold of curls” to “the silk of her curls”: judging by the version of the draft manuscript, the poet imagined Tatyana as outwardly similar to Olga with one difference:
[You can, my friends,
Imagine her face
But only with black eyes.]
(VI, 290; PD 834, sheet 35v.)
That is, the idea to deduce not one beloved (probably supposed to be the subject of love rivalry between Onegin and Lensky), and two sisters came to Pushkin already in the process of working on the verbal design of the second chapter of Onegin. In essence, this was an idea completely new for such a “love” novel: before Pushkin, antinomy two sisters not very developed yet.
Two- according to Dahl - “second counting number, one with one, couple, couple, friend”; this number "expresses doubling, duality." This “duality” can be different: Dal, on the other hand, distinguishes between the concepts binary, dual and double(the last term is given a synonym bivariate). The very notion of two sisters- that is, about blood relatives - provokes the restoration of preposition similarities(by type: “two from the casket, identical from the face”). But Pushkin prefers binary opposition similar to when one Gogol's Ivan's head "looks like a radish with its tail down", and the other - "like a radish with its tail up".
This binary antinomy is already fixed in the details of the initial description of the first of the sisters introduced in the novel. Olga is “always modest, always obedient” - the very first act of Tatyana (her letter to Onegin) testifies to the opposite traits of her character. Olga is “always as cheerful as the morning” - Tatyana, as a rule, is “sad”. Olga is “simple-minded” - Tatyana, on the contrary, initially demonstrates a complex mental organization. Etc.
The same - and in appearance. Olga, according to Pushkin's ideas, is light: “eyes are blue like the sky”, “linen curls”. Tatyana is dark, “with black eyes”. It should be noted that in the final version of the novel, Tatyana's appearance is not described at all, but in our view, she acts as an antipode to her younger sister, and, accordingly, the reader's idea of her appearance is constructed "from the opposite" in relation to Olga.
Tatyana - “pale” - this is her usual state. Olga blush: “Aurora of the northern alley” (VI, 106). From this point of view, the younger sister seems to be closer to the common people than Tatyana: “... a fresh complexion and a blush on the whole cheek is the first condition for beauty according to common people” (N.G. Chernyshevsky). It is about Olga's "blush" that the first "polemic" drawn in the novel between Onegin and Lensky unfolds.
Onegin and Lensky return home after their first visit to the Larins' house; Onegin wonders why his friend chose the “smaller” of the two sisters:
- And what? - “I would choose another,
When I was like you, a poet.
Olga has no life in features.
Exactly the same in the Vandykova Madona:
She is round, red-faced,
Like that stupid moon
In this stupid sky."
Vladimir dryly answered
(VI, 53)
It is curious that Nabokov comments on Onegin’s remark as an undoubted praise of Olga’s beauty: “The old meaning of the word “red” is “beautiful”, and I understand the expression “she has a red face” as “she has Beautiful face", not as a statement that "she has a red face." The “red face” would indicate a rough blush of intemperance, high blood pressure, anger, a sense of shame, and so on, which would absolutely not correspond to the image of the pink-haired Pamela or the Madonna that Onegin has in mind. And without that, he's pretty rude here.<…>My choice of this meaning is also due to a comparison with the moon, which appears here as a beautiful sphere (“round and white-faced”), sung by poets<…>Naturally, this lyrically generalized moon is not painted with any color; be that as it may, a comparison of a red face with a red moon would cause the reader to associate with the color of a tomato, not a rose.
But after all, Lensky was clearly offended by this Onegin’s remark: it turns out that he did not understand the compliment ... And why, in this case, does Onegin prefer the “ugly” Tatiana over the “beautiful” Olga?
In the draft and white manuscripts of the third chapter, meanwhile, there is no "stupid moon." The white manuscripts even contain two versions of this brief dialogue between two friends about Olga's beauty. In the first variant, Lensky's demonstrative “dry” answer is given:
Olga has no idea in her features.
As in the Raphael Madona,
Blush and innocent look
I've been bored for a long time. -
- Everyone prays to his icon, -
Vladimir dryly answered,
And our Onegin fell silent.(VI, 575)
In the second version, the “literary” reference is indicative:
In Olga's features there is no thought,
Like Raphael in Madona.
Believe me - innocence is nonsense
And the sugary Pamela's gaze
I'm tired of Richardson too, -
Vladimir dryly answered
And then he was silent the whole way.(VI, 575)
In addition to the attempt to replace the “stupid moon”, two significant differences in the semantics of both versions and the final version are striking. Firstly, Onegin is not talking about the absence of “life” in the features of the beloved Lensky, but about the absence of “thought”. Secondly, in comparison with “Madonna”, we are not talking about any particular painting by A. Van Dyck (the only painting of this kind that Pushkin could see - “Madonna with Partridges” - for some reason N.L. Brodsky "sugary" and "sentimental"). For some reason Pushkin's Onegin does not want to appreciate the beauty of the Madonna as such: as a variant to the "Vandik's Madona" both "Raphael" and "Peruginov" appear (VI, 575).
Notes
Brodsky N.L."Eugene Onegin". Roman A.S. Pushkin. A guide for teachers. 4th ed. M., 1957. S. 161.
Quote characteristic Olga Larina from "Eugene Onegin"
Olga Larina is a character in A. Pushkin's novel "Eugene Onegin". Olga is the younger sister of the heroine, Tatyana Larina. Like Tanya, Olga grew up in countryside, under the caring wing of the parents.
Full of innocent beauty
In the eyes of her parents, she
It bloomed like a hidden lily of the valley ...
Olya is lively, pretty, loves games, dancing, laughter and entertainment. She has many girlfriends. A young visiting poet, Vladimir Lensky, falls in love with Olga. Olga becomes his muse: “She gave the poet the first dream of Young delights ...”
Olga pleases the eyes of her mother and everyone around her. At a glance, this is perfect girl, in which it is impossible not to fall in love, which it is impossible not to admire. However, Olya is superficial. There is no sensitivity and spiritual depth in her, unlike her older sister. Olga decorates the Larins' house, but is unable to do more. She does not shine with intelligence, does not strive for knowledge and does not try to develop something in herself, in addition to what she already possesses.
"Always modest, always obedient,
Always cheerful like morning.
How simple is the life of a poet,
Like a kiss of love - sweet.
Eyes like the sky, blue
All in Olga...
But any novel
Take it and find it right
Her portrait: he is very sweet,
I used to love him myself
But he bored me immensely ... "
Onegin did not like Olga, he did not find a spiritual component in her. With his usual manner of despising women, Onegin expresses to Lensky:
"I would choose another
Whenever I was like you, a poet.
Olga has no life in features ...
Exactly the same in Vandy's Madonna:
She is round and red-faced
Like that stupid moon
In this stupid sky."
The love of Olga and Lensky is childish, romantic. They walk hand in hand in the garden, sit together for a long time. Feeling Lensky borders on adoration. He diligently decorates the pages of the album for his bride, reads moralizing novels to her, carefully omitting too intimate details in them so as not to embarrass her friend. Olga likes his falling in love, she likes being a bride, she likes worship young man. In fact, she controls it and enjoys it. Olga flutters about without thinking about anything, not trying to penetrate the depths of the groom’s soul and appreciate his feelings:
"Aurora Northern Alley
And lighter than swallows ... "
Olya sees nothing wrong in flirting with other men in the presence of the groom. More precisely, Olga simply does not pay attention to the groom when she does this. Her flirting with Onegin caused mortal jealousy and grief in Lensky, but Olya herself does not notice this, and the next day she does not remember her act:
“It was not there: as before,
To meet the poor singer
Olenka jumped from the porch,
Like a windy hope
Playful, carefree, cheerful ... "
Clarity of sight, gentle simplicity, ruddy freshness, playfulness, female beauty promising healthy children - these are Olga's virtues.
Olya had no premonitions about the death of a loved one, unlike her older sister. After the death of the groom in a duel, Olga for some time approaches her sister, embracing, crying with her at the grave. But the bride does not grieve for long about the groom, who dreamed of defending her honor in a duel. After some time, a military man appears in the sisters' field of vision: "I came, I saw, I conquered." Olenka marries him, "she is unfaithful to her sadness."
"The other one caught her attention,
Another managed her suffering
To lull with love flattery,
Ulan knew how to capture her,
We love Ulan with our soul...
And now with him before the altar
She shyly under the crown
Standing with bowed head
With fire in downcast eyes,
With a smile on your lips."
Olga Larina leaves her native places for new family, where now she will please her husband, as she pleased her parents, pour tea to guests, as she did at home, chirp frivolously, give birth to children, run a house and housekeeping. Alexander Pushkin does not say anything about whether Olya will be happy. Probably, Olga Larina does not even think about it. She has no habit of thinking.
XXIII
Always humble, always obedient,
Always as cheerful as the morning
How simple is the life of a poet,
Like a kiss of love is sweet;
Eyes like the sky, blue
Smile, linen curls,
Movement, voice, light camp,
Everything in Olga ... but any novel
Take it and find it right
Her portrait: he is very sweet,
I used to love him myself
But he bored me to no end.
Allow me, my reader,
Take care of your big sister.
XXIV
Her sister's name was Tatiana...13
For the first time with such a name
Gentle pages of a novel
We will sanctify.
So what? it is pleasant, sonorous;
But with him, I know, inseparable
Remembrance of old
Or girlish! We should all
Confess: the taste is very little
With us and in our names
(Let's not talk about poetry);
We don't get enlightenment
And we got from him
Pretense, nothing more.
XXV
So, she was called Tatyana.
Nor the beauty of his sister,
Nor the freshness of her ruddy
She would not attract eyes.
Dika, sad, silent,
Like a forest doe is timid,
She is in her family
Seemed like a stranger girl.
She couldn't caress
To my father, not to my mother;
A child by herself, in a crowd of children
Didn't want to play and jump
And often all day alone
She sat silently by the window.
XXVI
Thought, her friend
From the most lullaby days
Rural Leisure Current
Decorated her with dreams.
Her pampered fingers
Didn't know needles; leaning on the hoop,
She is a silk pattern
Did not revive the canvas.
The desire to rule is a sign
With an obedient doll child
Cooking jokingly
To decency - the law of light,
And importantly repeats to her
Lessons from my mother.
XXVII
But dolls even in these years
Tatyana did not take it in her hands;
About the news of the city, about fashion
Didn't have a conversation with her.
And there were childish pranks
Alien to her: scary stories
In winter in the dark of nights
They captivated her heart more.
When did the nanny collect
For Olga on a wide meadow
All her little friends
She didn't play with burners
She was bored and sonorous laughter,
And the noise of their windy joys.
XXVIII
She loved on the balcony
Warn dawn dawn
When in the pale sky
The stars disappear in a round dance,
And quietly the edge of the earth brightens,
And, the messenger of the morning, the wind blows,
And gradually the day rises.
In winter, when the night shadow
Possesses half the world,
And share in idle silence,
Under the foggy moon
The lazy East rests
Awakened at the usual hour
She got up by candlelight.
XXIX
She liked novels early on;
They replaced everything for her;
She fell in love with deceptions
And Richardson and Rousseau.
Her father was a good fellow
Belated in the last century;
But he saw no harm in books;
He never reads
They were considered an empty toy
And didn't care about
What is my daughter's secret volume
Slept until morning under the pillow.
His wife was herself
Mad about Richardson.
XXX
She loved Richardson
Not because I read
Not because Grandison
She preferred Lovlace;14
But in the old days, Princess Alina,
Her Moscow cousin
She often told her about them.
At that time there was still a groom
Her husband, but by captivity;
She sighed for a friend
Who in heart and mind
She liked much more:
This Grandison was a glorious dandy,
Player and Guard Sgt.
XXXI
Like him, she was dressed
Always in fashion and to the face;
But without asking her advice,
The girl was taken to the crown.
And to dispel her grief,
The sensible husband left soon
To her village where she is
God knows who surrounded
I broke down and cried at first
Almost divorced her husband;
Then she took up housekeeping
I'm used to it and I'm satisfied.
The habit from above is given to us:
She is a substitute for happiness.
XXXII
Habit soothed sorrow
Not reflected by anything;
Big opening soon
She was completely comforted.
She is between business and leisure
Revealed the secret as a spouse
Autocratic control,
And then everything went to become.
She traveled to work
Salted mushrooms for the winter,
Conducted expenses, shaved foreheads,
I went to the bathhouse on Saturdays
The maids beat angry -
All this without asking the husband.
XXXIII
Used to pee in blood
She is in the albums of tender maidens,
Called Polina Praskovya
And spoke in a singsong voice
The corset was very tight
And Russian N like N French
She knew how to pronounce it through her nose;
But soon everything changed:
Corset, album, Princess Alina,
Rhymes sensitive notebook
She forgot: she began to call
Shark old Selina
And finally updated
On cotton wool is a dressing gown and a cap.
XXXIV
But her husband loved her heartily,
Did not enter into her ventures,
In everything she believed carelessly,
And he himself ate and drank in a dressing gown;
Quietly his life rolled;
In the evening sometimes converged
Good family of neighbors
unceremonious friends,
And grieve, and slander,
And laugh about something.
Time passes; meanwhile
They will order Olga to cook tea,
Dinner is there, it's time to sleep there,
And the guests are coming from the yard.
XXXV
They kept in a peaceful life
Sweet old habits;
They have oily Shrovetide
There were Russian pancakes;
Twice a year they fasted;
Loved the round swing
Podbludny songs, round dance;
On Trinity Day, when the people
Yawning, listening to a prayer,
Tenderly on a beam of dawn
They shed three tears;
They needed kvass like air,
And at the table they have guests
They wore dishes according to their ranks. Read the work of Eugene Onegin from Pushkin A.S., in the original format and in full. If you appreciated the work of Pushkin A.S..ru
Exercise:
Read the examples carefully, find comparisons in them and highlight them while reading aloud.
Example 1
Always humble, always obedient,
Always cheerful like the morning
Like the life of a poet, simple-hearted,
Like a kiss of love, honey;
Eyes like the sky, blue;
Smile, linen curls,
Everything in Olga ... But any novel
Take it and find it, right
Her portrait...
(A.S. Pushkin "Eugene Onegin")
Example 2
“The mass tossed and turned, buzzed, worried, like a huge woolly beast - a thousand-legged, thousand-eyed, pliable, like a bear-mokhnach.”
(D. Furmanov "Chapaev").
When a new concept appears in a story, it is also highlighted with logical emphasis. So, logical stress falls on the name that first appeared in the work:
Onegin, my good friend,
Born on the banks of the Neva
Where might you have been born?
Or shone, my reader.
(A.S. Pushkin "Eugene Onegin")
When the heroes in front have already been named, with further mention there is no need to specifically highlight them:
The king rode through the village from the war.
Rides - black malice sharpens the heart.
Hears - behind the elderberry bushes
The girl laughs.
Menacingly red eyebrows frowning,
The king spurred his horse
Hit the girl like a storm
And screams, ringing with armor ...
(M. Gorky "Girl and Death")
From the book Chrysanthemum and Sword author Benedict RuthAssignment I: Japan To the United States, Japan was the most alien enemy it had ever faced. big war. In no other war with major adversary we were not forced to take into account completely different
From the book Speech Technique author Kharitonov Vladimir AlexandrovichTask: On the example of any work of Russian classical literature demonstrate the role of the semicolon in an artistic context (description, reflection, lyrical digression etc.) COLON The colon often competes with the dash. Both signs are illustrative.
From the author's bookTask: Find 5 examples of such a dash arrangement in M. Gorky's plays. EXCLAMATION MARK The exclamation mark is used to indicate the emotionality of speech. However, along with the dot, Exclamation point serves as a sentence delimiter.
From the author's bookTask: On the example of any artistic text comment on the composition of interrogative constructions, determine their meaning in the structure of the work. DOTS The ellipsis is characterized by the intonation of incompleteness. This sign requires a great performer
From the author's bookTask 2. Read carefully the following three passages, compare them. What do they have in common and what is different? Pay attention to the punctuation marks and, while reading the texts aloud, follow the instructions given above. Pay special attention to various
From the author's bookTask: Read aloud. Arrange pauses (logical) that you consider necessary to clarify the thought. 1. “On Staritsa, along the banks, there are sand dunes overgrown with Chernobyl and succession. Grass grows on the dunes, it is called tenacious. These are dense gray-green balls, similar to
From the author's bookTask: Read the examples carefully, find comparisons in them and, when reading aloud, highlight them. Example 1. Always modest, always obedient, Always, like morning, cheerful, Like the life of a poet, simple-hearted, Like a kiss of love, sweet; Eyes like the sky, blue; Smile, linen curls,
Olga Larina is a character in A. Pushkin's novel "Eugene Onegin". Olga is the younger sister of the heroine, Tatyana Larina. Like Tanya, Olga grew up in the countryside, under the caring wing of her parents.
Full of innocent beauty
In the eyes of her parents, she
It bloomed like a hidden lily of the valley ...
Olya is lively, pretty, loves games, dancing, laughter and entertainment. She has many girlfriends. A young visiting poet, Vladimir Lensky, falls in love with Olga. Olga becomes his muse: “She gave the first dream to the poet Young delights ...”
Olga pleases the eyes of her mother and everyone around her. In appearance, this is an ideal girl, whom it is impossible not to fall in love with, whom one cannot but admire. However, Olya is superficial. There is no sensitivity and spiritual depth in her, unlike her older sister. Olga decorates the Larins' house, but is unable to do more. She does not shine with intelligence, does not strive for knowledge and does not try to develop something in herself, in addition to what she already possesses.
"Always modest, always obedient,
Always cheerful like morning.
How simple is the life of a poet,
Like a kiss of love - sweet.
Eyes like the sky, blue
All in Olga...
But any novel
Take it and find it right
Her portrait: he is very sweet,
I used to love him myself
But he bored me immensely ... "
Onegin did not like Olga, he did not find a spiritual component in her. With his usual manner of despising women, Onegin expresses to Lensky:
"I would choose another
Whenever I was like you, a poet.
Olga has no life in features ...
Exactly the same in Vandy's Madonna:
She is round and red-faced
Like that stupid moon
In this stupid sky."
The love of Olga and Lensky is childish, romantic. They walk hand in hand in the garden, sit together for a long time. Feeling Lensky borders on adoration. He diligently decorates the pages of the album for his bride, reads moralizing novels to her, carefully omitting too intimate details in them so as not to embarrass her friend. Olga likes his love, she likes being a bride, likes the worship of a young man. In fact, she controls it and enjoys it. Olga flutters about without thinking about anything, not trying to penetrate the depths of the groom’s soul and appreciate his feelings:
"Aurora Northern Alley
And lighter than swallows ... "
Olya sees nothing wrong in flirting with other men in the presence of the groom. More precisely, Olga simply does not pay attention to the groom when she does this. Her flirting with Onegin caused mortal jealousy and grief in Lensky, but Olya herself does not notice this, and the next day she does not remember her act:
“It was not there: as before,
To meet the poor singer
Olenka jumped from the porch,
Like a windy hope
Playful, carefree, cheerful ... "
Clarity of sight, gentle simplicity, ruddy freshness, playfulness, female beauty, promising healthy children - these are Olga's virtues.
Olya had no premonitions about the death of a loved one, unlike her older sister. After the death of the groom in a duel, Olga for some time approaches her sister, embracing, crying with her at the grave. But the bride does not grieve for long about the groom, who dreamed of defending her honor in a duel. After some time, a military man appears in the sisters' field of vision: "I came, I saw, I conquered." Olenka marries him, "she is unfaithful to her sadness."
"The other one caught her attention,
Another managed her suffering
To lull with love flattery,
Ulan knew how to capture her,
We love Ulan with our soul...
And now with him before the altar
She shyly under the crown
Standing with bowed head
With fire in downcast eyes,
With a smile on your lips."
Olga Larina leaves her native places for a new family, where she will now please her husband, as she pleased her parents, pour tea for guests, as she did at home, frivolously chirp, give birth to children, run a house and housekeeping. Alexander Pushkin does not say anything about whether Olya will be happy. Probably, Olga Larina does not even think about it. She has no habit of thinking.
