In "Autumn in the Oak Woods," how can we see the antagonistic sides of the two characters?

"Autumn in the Oak Woods" was written by Yuri Pavlovich at
a time in Soviet history when censorship has eased somewhat and writers revived the
prerogative of authors to criticize their cities and cultures as well as idealize the
country life that exists in opposition to industrialized cities. This time was known as
the "thaw period" and extended from the 1950s to the 1970s. Yuri Pavlovich forged his
own path in this period and neither fell in with the detractors of city life and culture
nor with the idealizers of the antithetical country life. On the contrary, Pavlovich
offers a balanced view that doesn't denigrate the city nor idealize the country, but
rather offers the country life as an alternative to those who seek solace and a quieter
life than what the city offers.

In light of this, Pavlovich
paints both the hero and heroine with equal, balanced strokes because he represents the
country and she represents the city. Pavlov uses them to show the balance he both
perceives and reveals. Therefore, there are no demonstrable antagonistic qualities to
either one, the hero or heroine. If there were, Pavlovich's message would be radically
altered. Either they would represent superiority of country or city over the other, when
his express purpose is to show balance, or they would represent opposition between
equally problematic country and city, when his other purpose is to offer the country as
a viable option to those who seek quietude and
naturalness.

The lack of antagonistic qualities to each
character is demonstrated by her willingness to understand his explanation of why he
won't care about killing the fox; by his willingness to turn his back while she dressed
and to agree to turn the lights out; and by her later comforting remarks that indeed
everything she is seeing is good.