Composition “Can a good person be “superfluous”? (2). The image of Oblomov as a type of “extra person” in Russian literature of the 19th century Why is Ilya Oblomov an extra person

Goncharov I. A.

Composition based on a work on the topic: Oblomov and "an extra person"

The main character of the novel by I. A. Goncharov is Ilya Ilyich Oblomov - a kind, gentle, kind-hearted person who is able to experience a feeling of love and friendship, but unable to step over himself - get up from the couch, do some activity and even settle his own affairs. But if at the beginning of the novel Oblomov appears before us as a couch potato, then with each new page we penetrate more and more into the soul of the hero - bright and pure.
In the first chapter, we meet with insignificant people - acquaintances of Ilya Ilyich, who surround him in St. Petersburg, busy with fruitless fuss, creating the appearance of action. In contact with these people, the essence of Oblomov is revealed more and more. We see that Ilya Ilyich has such important quality which few have as conscience. With each line, the reader comes to know the wonderful soul of Oblomov, and this is precisely what Ilya Ilyich stands out from the crowd of worthless, prudent, heartless people, concerned only with his person: “The soul shone so openly and easily in his eyes, in a smile, in every movement of his head, his hands” .
Having excellent internal qualities, Oblomov is also educated and smart. He knows what is true values life - not money, not wealth, but high spiritual qualities, flight of feelings.
So why is such a smart and educated person not willing to work? The answer is simple: Ilya Ilyich, just like Onegin, Pechorin, does not see the meaning and purpose of such work, such a life. He doesn't want to work like that. “This unresolved question, this unsatisfied doubt exhausts the forces, destroys activity; a person drops his hands, and he gives up work, not seeing a goal for him, ”wrote Pisarev.
Goncharov does not introduce a single superfluous person into the novel - all the characters, with each step, reveal Oblomov more and more to us. The author introduces us to Stolz - at first glance, perfect hero. He is hardworking, prudent, practical, punctual, he himself managed to make his way in life, amassed capital, earned respect and recognition in society. Why does he need all this? What good did his work bring? What is their purpose?
Stolz's task is to settle down in life, that is, to gain sufficient means of subsistence, family status, rank, and, having achieved all this, he stops, the hero does not continue his development, he is content with what he already has. Is it possible to call such a person ideal? Oblomov cannot live for the sake of material well-being, he must constantly develop, improve his inner world, and in this it is impossible to reach the limit, because the soul in its development knows no boundaries. It is in this that Oblomov surpasses Stolz.
But the main storyline in the novel are the relationship between Oblomov and Olga Ilyinskaya. It is here that the hero is revealed to us with better side, his most cherished corners of the soul are opened. Olga awakens in the soul of Ilya Ilyich best qualities, but they do not live in Oblomov for long: Olga Ilyinskaya and Ilya Ilyich Oblomov were too different. She is characterized by the harmony of mind and heart, will, which the hero is not able to understand and accept. Olga is full life energy, she strives for high - art and awakens the same feelings in Ilya Ilyich, but he is so far from her way of life that he soon changes romantic walks again to a soft sofa and a warm bathrobe. It would seem that what Oblomov lacks, why shouldn't he marry Olga, who accepted his proposal. But no. He doesn't act like everyone else. Oblomov decides to break off relations with Olga for her own good; he acts like many familiar characters: Pechorin, Onegin, Rudin. They all leave the women they love, not wanting to hurt them. “In relation to women, all Oblomovites behave in the same shameful way. They don’t know how to love at all and don’t know what to look for in love, just like in life in general,” writes Dobrolyubov in his article “What is Oblomovism?”.
Ilya Ilyich decides to stay with Agafya Matveevna, for whom he also has feelings, but completely different than for Olga. For him, Agafya Matveevna was closer, “in her ever-moving elbows, in her carefully stopping eyes, in her eternal walking from the kitchen to the pantry.” Ilya Ilyich lives in a cozy, comfortable house, where life has always been in the first place, and the beloved woman would be a continuation of the hero himself. It would seem that the hero lives and lives happily ever after. No, such a life in Pshenitsyna's house was not normal, long, healthy, on the contrary, it accelerated Oblomov's transition from sleeping on the couch to eternal sleep - death.
Reading the novel, one involuntarily asks the question: why is everyone so drawn to Oblomov? It is obvious that each of the heroes finds in him a piece of goodness, purity, revelation - all that people lack so much. Everyone, starting with Volkov and ending with Agafya Matveevna, searched for and, most importantly, found what was necessary for themselves, for their hearts and souls. But nowhere was Oblomov his own, there was no such person who would truly make the hero happy. And the problem lies not in the people around him, but in himself.
Goncharov in his novel showed different types people, they all passed in front of Oblomov. The author showed us that Ilya Ilyich has no place in this life, just like Onegin, Pechorin.
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Oblomov is a socio-psychological novel written in the 19th century. In the work, the author touches on a number of social and philosophical problems, including issues of human interaction with society. Main character novel - Ilya Ilyich Oblomov - " extra person”, unable to adapt to a new, rapidly changing world, to change themselves and their views for the sake of a brighter future. That is why one of the most acute conflicts in the work is the opposition to the passive, inert hero of an active society in which Oblomov cannot find a worthy place for himself.

What does Oblomov have in common with "superfluous people"?

In Russian literature, such a type of hero as "an extra person" appeared in the early 20s of the 19th century. For this character was characterized by alienation from the usual noble environment and, in general, the whole official life Russian society, as he felt bored and his superiority (both intellectual and moral) over the rest. The “superfluous person” is overwhelmed with spiritual fatigue, can talk a lot, but do nothing, is very skeptical.
At the same time, the hero is always the heir to a good fortune, which, nevertheless, he does not try to increase.

Indeed, Oblomov, having inherited a larger estate from his parents, could easily settle things there long ago in order to live in full prosperity on the money received from the farm. However, mental fatigue and boredom overwhelming the hero prevented the start of any business - from the banal need to get out of bed to writing a letter to the headman.

Ilya Ilyich does not associate himself with society, which Goncharov vividly depicted at the beginning of the work, when visitors come to Oblomov. Each guest for the hero is like a cardboard decoration, with which he practically does not interact, putting a kind of barrier between others and himself, hiding behind a blanket. Oblomov does not want to visit like others, communicate with hypocritical and not interesting people who disappointed him even during his service - when he came to work, Ilya Ilyich hoped that everyone would be the same friendly family as in Oblomovka, but he ran into with a situation where every person is “for himself”. Discomfort, the inability to find one's social vocation, the feeling of uselessness in the "neoblomov" world leads to the hero's escapism, immersion in illusions and memories of the wonderful Oblomov past.

In addition, the “extra” person always does not fit into his time, rejecting it and acting contrary to the system that dictates the rules and values ​​to him. Unlike those gravitating towards the romantic tradition, always striving forward, ahead of their time, Pechorin and Onegin, or Chatsky’s character of enlightenment, towering over a society mired in ignorance, Oblomov is an image of a realistic tradition, a hero who does not strive forward, to transformations and new discoveries (in society or in one’s soul), a wonderful distant future, but focused on the close and important past for him, “Oblomovism”.

The love of an "extra person"

If in the matter of time orientation Oblomov differs from the “superfluous heroes” that preceded him, then in love matters their fates are very similar. Like Pechorin or Onegin, Oblomov is afraid of love, afraid of what can change and become different or negatively affect his beloved - up to the degradation of her personality. On the one hand, parting with lovers is always a noble step on the part of the “extra hero”, on the other hand, this is a manifestation of infantilism - for Oblomov this was an appeal to the “Oblomov” childhood, where everything was decided for him, cared for and everything was allowed.

The “extra man” is not ready for fundamental, sensual love for a woman, it’s not so much the real lover that matters to him, but the self-created, inaccessible image - we see this both in Onegin’s feelings for Tatyana that flared up years later, and illusory, “spring” feelings Oblomov to Olga. The "superfluous person" needs a muse - beautiful, unusual and inspiring (for example, like Bella at Pechorin). However, not finding such a woman, the hero falls into the other extreme - he finds a woman who would replace his mother and create an atmosphere of distant childhood.

Oblomov and Onegin, not similar at first glance, equally suffer from loneliness in the crowd, but if Eugene does not refuse secular life, then for Oblomov the only way out is immersion in oneself.

Is Oblomov an extra person?

The "superfluous person" in Oblomov is perceived by other characters differently than similar characters in previous works. Oblomov - kind, simple, fair man who sincerely wants a quiet, peaceful happiness. He is sympathetic not only to the reader, but also to the people around him - not in vain, after all, with school years his friendship with Stolz does not stop and Zakhar continues to serve with the master. Moreover, Olga and Agafya sincerely fell in love with Oblomov precisely for his spiritual beauty, dying under the pressure of apathy and inertia.

What is the reason that, from the very appearance of the novel in the press, critics have defined Oblomov as “an extra person”, because the hero of realism, unlike the characters of romanticism, is a typed image that combines the features of a whole group of people? Depicting Oblomov in the novel, Goncharov wanted to show not one "extra" person, but a whole social stratum of educated, wealthy, smart, sincere people who could not find themselves in a rapidly changing, new Russian society. The author emphasizes the tragedy of the situation when, unable to change with the circumstances, such “Oblomovs” slowly die, continuing to hold on tightly to long-gone, but still important and soul-warming memories of the past.

It will be especially useful for grades 10 to familiarize themselves with the above reasoning before writing an essay on the topic “Oblomov and “extra people””.

Oblomov and the "extra person" what is in common - an essay on the topic |

In Russian literature, the second half of XIX century you can find a lot interesting heroes. But, it seems to me, the most colorful and controversial is Ilya Ilyich Oblomov - the main character novel of the same name I. A. Goncharova.

"How many people - so many opinions" - says folk wisdom. Everyone can evaluate Ilya Ilyich in accordance with his own feeling. I consider Oblomov a good person. This opinion was formed after assessing the relationship of the protagonist with other characters in the novel.

Oblomov cannot be imagined outside the sofa. The essence of Ilya Ilyich is clearly manifested precisely at home, where he lives with an old servant. The protagonist has a good, friendly attitude towards Zakhar, whom he has known since childhood. Sometimes he arranges "pathetic scenes", but does not go further. Even noticing the theft of the old man, he does not focus on this much attention. The lazy Oblomov knows that he cannot exist alone, and that is why he loves Zakhar for his patience.

WITH early childhood the main character's friend is Andrey Ivanovich Stoltz. What can be interesting for an energetic and independent Stolz in Oblomov? Andrei Ivanovich appreciates Ilya Ilyich for his intelligence, simplicity, tenderness and sincerity and "pulls out" the hero from all sorts of "trouble." For this, Oblomov loves and immensely respects Stolz. In addition, Andrei Ivanovich introduces Ilya Ilyich to Olga Ilyinskaya.

Oblomov does not pursue low goals in relations with a young lady. Everything in his soul happens simply and naturally. If Oblomov's thoughts and phrases spoken by Olga belonged to someone else, they could be considered vulgarity and pretense. But we understand the sincerity of Ilya Ilyich: "Olga realized that the word escaped from him ... and that it is the truth." Ilyinskaya herself, at first only wanting to rise with the help of the hero in her own and other people's eyes, falls in love with such a meek, decent, somewhat naive person. He really is "different". Ilya Ilyich thinks about strangers, even if it is unprofitable for him.
In order, God forbid, not to disappoint an inexperienced girl in her feelings, he is even ready to give up his love: “Before you is not the one you were waiting for, whom you dreamed of ...” Oblomov first of all thinks about strangers, he is afraid that they will be disappointed in him .

This is the defining line of Ilya Ilyich's relationship with other characters in Oblomov. His house is very rarely empty. Everyone enjoys the company of a hero. Oblomov refuses nothing to anyone: whoever needs advice, gives advice; who needs to eat, will invite to dinner. Tarantiev always takes everything he needs from Ilya Ilyich: a tailcoat ... His simplicity gives some reason for fraud, but it seems that the Lord himself is on the side of the hero. Oblomov comes out of every scrape safely. They forced him to sign a “loan letter” - saved Stolz, sent a fraudster to the estate - saved Stolz, relations with Olga did not work out, Stolz did not help - he found Agafya Matveevna. Nothing can distract Ilya Ilyich from "peace and peaceful fun."

Goncharov showed a smart, calm, decent, simple, at the same time capable of loving, sincere, somewhat naive hero, for whom "lying down is a way of life."

How can a person endowed with such qualities be bad? I think not. Moreover, so beautiful hero I have not yet seen in any work of literature.

You might think that a uniquely positive character, if it exists, will definitely be “superfluous”, but it only seems. Oblomov left behind a living reminder - Andryushenka. After the death of Ilya Ilyich, Agafya Matveevna thought about her aimlessly lived life. Olga was formed as a person as a result of the influence of Oblomov. It is not for nothing that Agafya Matveevna and the Stoltsy spouses remember the already deceased hero every day. A good person, especially if he is Oblomov, cannot live without a trace.

But we see that this is not the case. Therefore, I believe that good man cannot be redundant.

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I.A. Goncharov worked on the novel "Oblomov" for ten years. In this novel, the author expressed his beliefs and hopes, displayed the problems that worried him, revealed the causes of these problems. Therefore, the image of Ilya Ilyich Oblomov and Andrei Ivanovich Stolz ...

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IN early XIX centuries in Russian literature, works appear, central issue which is the conflict between the hero and society, man and the environment that brought him up. And as the result is created new look- the image of a "superfluous" person, a stranger among his own, rejected by the environment. The heroes of these works are people of an inquisitive mind, gifted, talented, who had the opportunity to become writers, artists, scientists, and who, in the words of Belinsky, became “smart unnecessary things”, “suffering egoists”, “egoists involuntarily”. The image of the “superfluous person” changed as society developed, acquired new qualities, until, finally, it reached full expression in the novel by I.A. Goncharov "Oblomov".

In Goncharov's novel, we have before us the story of a man who does not have the makings of a determined fighter, but has all the credentials to be a good, decent person. "Oblomov" is a kind of "book of results" of the interaction of the individual and society, moral convictions and social conditions in which a person is placed. In Goncharov's novel, a whole phenomenon is traced public life- Oblomovism, which gathered the vices of one of the types of noble youth of the 50s of the XIX century. In his work, Goncharov “wanted to ensure that the random image that flashed before us was raised to a type, to give it a generic and permanent meaning,” wrote N.A. Dobrolyubov. Oblomov is not a new face in Russian literature, "but before it has not been presented to us as simply and naturally as in Goncharov's novel."

Ilya Ilyich Oblomov - nature is weak-willed, sluggish, cut off from real life. "Lying... was his normal state." Oblomov's life is a pink nirvana on a soft sofa: slippers and a bathrobe are indispensable companions of Oblomov's existence. Living in a narrow world created by him, fenced off from the real ebullient life by dusty curtains, the hero liked to make unrealizable plans. He never brought anything to an end, any of his undertakings suffered the fate of a book that Oblomov had been reading for several years on one page. However, Oblomov’s inaction was not elevated to an extreme degree and Dobrolyubov was right when he wrote that “... Oblomov is not a stupid, apathetic nature, without aspirations and feelings, but a person who is also looking for something in his life, about something thinking ... "Goncharov's hero in his youth was a romantic, longing for an ideal, burned out from the desire for activity, but" the flower of life blossomed and did not bear fruit. Oblomov became disillusioned with life, lost interest in knowledge, realized the worthlessness of his existence and lay down on the sofa, believing that in this way he could maintain his moral integrity. So he “lay” his life, “slept through” love and, as his friend Stolz said, “his troubles began with the inability to put on stockings and ended with the inability to live.” The peculiarity of the image of Oblomov is that he "protested" on the couch, believing that this best image life, but not through the fault of society, but because of their own nature, their own inaction.

Based on the features of life Russia XIX century, we can say that if "extra" people were found everywhere, regardless of country and political system, then Oblomovism is a purely Russian phenomenon, generated by the Russian reality of that time. It is no coincidence that Dobrolyubov sees in Oblomov "our indigenous folk type."

Many critics of that time, and even the author of the novel himself, saw in the image of Oblomov a “sign of the times”, arguing that the image of an “extra” person was typical only for serf-owning Russia in the 19th century. They saw the root of all evil in state structure countries. But I cannot agree that the apathetic dreamer Oblomov is a product of the autocratic-feudal system. Our time can serve as proof of this, where many find themselves in the wrong place, do not find the meaning of life and, like Oblomov, they kill best years life lying on the couch. So Oblomovism is a phenomenon not only of the 19th century, but also of the 21st century. Therefore, I believe that the tragedy of the "unnecessary" is not to blame serfdom, in particular, and that society in which true values ​​are distorted, and vices often wear a mask of virtue, where a person can be trampled underfoot by a gray, silent crowd.

At the beginning of the 19th century, Russian literature appeared whole line works, the main problem of which is the conflict between man and society, the environment that brought him up. The most outstanding of them were "Eugene Onegin" by A.S. Pushnin and "Hero of Our Time" M.Yu. Lermontov. This is how a special literary type is created and developed - the image of an "extra person", a hero who has not found his place in society, not understood and rejected by his environment. This image changed with the development of society, acquiring new features, qualities, features, until it reached the most vivid and complete embodiment in the novel by I.A. Goncharov "Oblomov".

Goncharov's work is the story of a hero who does not have the makings of a determined fighter, but has all the data to be a good, decent person. The writer “wanted to ensure that the random image that flashed before him was raised to a type, to give it a generic and permanent meaning,” wrote N.A. Dobrolyubov. Indeed, Oblomov is not a new face in Russian literature, "but before it was not exhibited before us as simply and naturally as in Goncharov's novel."

Why can Oblomov be called "an extra person"? What are the similarities and differences between this character and his famous predecessors - Onegin and Pechorin?

Ilya Ilyich Oblomov is a weak-willed, lethargic, apathetic nature, divorced from real life: "Lying ... was his normal state." And this feature is the first thing that distinguishes him from Pushkin's and, especially, Lermontov's heroes.

The life of Goncharov's character is rosy dreams on a soft sofa. Slippers and a dressing gown are indispensable companions of Oblomov's existence and bright, accurate artistic details, revealing the inner essence and external way of life of Oblomov. Living in a fictional world, fenced off by dusty curtains from reality, the hero devotes his time to building unrealizable plans, does not bring anything to the end. Any of his undertakings suffers the fate of a book that Oblomov has been reading for several years on one page.

However, the inaction of Goncharov's character was not elevated to such an extreme degree as in Manilov's poem by N.V. Gogol " Dead Souls", and, as Dobrolyubov correctly noted, "Oblolov is not a dull, apathetic nature, without aspirations and feelings, but a person who is also looking for something in his life, thinking about something ...".

Like Onegin and Pechorin, Goncharov's hero in his youth was a romantic, longing for an ideal, burning with a desire for activity, but, like them, Oblomov's "flower of life" "bloomed and did not bear fruit." Oblomov became disillusioned with life, lost interest in knowledge, realized the worthlessness of his existence both directly and figurative sense“lay down on the sofa”, believing that in this way he would be able to maintain the integrity of his personality.

So the hero "lay" his life, without bringing any visible benefit to society; “slept through” the love that passed him by. One can agree with the words of his friend Stolz, who figuratively noted that Oblomov's "trouble began with the inability to put on stockings and ended with the inability to live."

Thus, the main difference between Oblomov's "superfluous person" and Onegin and Pechorin's "superfluous people" is that the latter denied social vices in action - real affairs and deeds (see Onegin's life in the village, Pechorin's communication with the "water society"), while the former "protested" on the couch, spending his whole life in immobility and inaction. Therefore, if Onegin and Pechorin - “ moral cripples"To a greater extent through the fault of society, then Oblomov - mainly through the fault of his own apathetic nature.

In addition, if the type of "superfluous person" is universal and characteristic not only for Russian, but also for foreign literature(B. Konsgan, L. de Musset, etc.), then, considering the features of the social and spiritual life of Russia in the 19th century, it can be noted that Oblomovism is a purely Russian phenomenon, generated by the reality of that time. It is no coincidence that Dobrolyubov saw in Oblomov "our indigenous, folk type."

So, in the novel by I.A. Goncharov "Oblomov", the image of the "superfluous person" receives its final embodiment and development. If in the works of A.S. Pushkin and M.Yu. Lermontov reveals the tragedy of one human soul which has not found its place in society, Goncharov depicts a whole phenomenon of Russian social and spiritual life, called "Oblomovshchiya" and incorporating the main vices of one of the characteristic types of noble youth of the 50s of the XIX century.