Plan.
Gallery of extra people
Attributes of “superfluous people” The origins of “Oblomovism”
Real-fairy-tale life
Possible happiness and Olga Ilyinskaya
Conclusion. Who is to blame for “Oblomovism”?
Goncharov’s novel “Oblomov” continues the gallery of works that describe heroes who are superfluous to the whole world and to themselves, but not superfluous to the passions boiling in their souls. Oblomov, main character novel, following Onegin and Pechorin, the same thorny path life's disappointments, tries to change something in the world, tries to love, make friends, maintain relationships with acquaintances, but he does not succeed in all this. Just like life didn’t work out for Lermontovsky and Pushkin's heroes. And the main heroines of all these three works, “Eugene Onegin”, “Hero of Our Time” and “Oblomov”, are also similar - pure and bright creatures who were never able to stay with their lovers. Perhaps a certain type of man attracts a certain type of woman? But why then do such worthless men attract such beautiful women? And, in general, what are the reasons for their worthlessness, were they really born this way, or is it a noble upbringing, or is time to blame? Using Oblomov’s example, we will try to understand the essence of the “extra people” problem and try to answer the questions posed.
With the development of the history of “extra people” in literature, a kind of paraphernalia, or things, objects, which must be present for each such “extra” character, was developed. Oblomov has all these accessories: a dressing gown, a dusty sofa and an old servant, without whose help it seemed he would die. Maybe that’s why Oblomov doesn’t go abroad, because there are only “girls” as servants who don’t know how to properly remove the master’s boots. But where did all this come from? It seems that the reason must first of all be sought in the childhood of Ilya Ilyich, in the pampered life that the landowners of that time led and in the inertia that was instilled from childhood: “the mother, after petting him, let him walk in the garden, around the yard, in the meadow , with strict confirmation to the nanny not to leave the child alone, not to allow him near horses, dogs, goats, not to go far from home, and most importantly, not to let him into the ravine, as the most scary place in the neighborhood, which had a bad reputation.” And, having become an adult, Oblomov also does not allow himself to be near horses, or to people, or to the whole world. Why it is in childhood that it is necessary to look for the roots of such a phenomenon as “Oblomovism” is clearly visible when comparing Oblomov with his childhood friend, Andrei Stolts. They are the same age and the same social status, but like two different planets colliding in space. Of course, all this can only be explained by Stolz’s German origin, however, what then to do with Olga Ilyinskaya, a Russian young lady who, at twenty years old, was much more purposeful than Oblomov. And it’s not even about age (Oblomov was about 30 years old at the time of the events), but again about upbringing. Olga grew up in her aunt’s house, not restrained by the strict orders of her elders or constant affection, and learned everything herself. That's why she has such an inquisitive mind and desire to live and act. After all, in childhood there was no one who would take care of her, hence the sense of responsibility and the inner core that does not allow her to deviate from her principles and way of life. Oblomov was raised by the women of his family, and this is not his fault, but somewhere the fault of his mother, her so-called selfishness towards her child, a life filled with illusions, goblins and brownies, and maybe that was all society in these pre-Moscow times. “Although the adult Ilya Ilyich later learns that there are no honey and milk rivers, no good sorceresses, although he jokes with a smile at his nanny’s stories, this smile is not sincere, it is accompanied by a secret sigh: his fairy tale is mixed with life, and he sometimes unconsciously sad, why is a fairy tale not life, and why is life not a fairy tale?
Oblomov remained living in fairy tales told by his nanny, and was never able to plunge into real life, because real life, for the most part it is black and vulgar, and people living in fairy tales have no place in it, because in real life everything happens not by the wave of a magic wand, but only thanks to human will. Stolz says the same thing to Oblomov, but he is so blind and deaf, so captured by the petty passions raging in his soul, that sometimes he does not even understand his best friend: “Well, brother Andrey, the same for you! There was one smart man, and he went crazy. Who goes to America and Egypt! The English: that’s how God made them; and they have nowhere to live at home. Who will go with us? Is it some desperate person who doesn’t care about life?” But Oblomov himself doesn’t care about life. And he’s too lazy to live. And it seems that only love, a big and bright feeling, can revive him. But we know that this did not happen, although Oblomov tried very hard.
At the beginning of the emergence of the relationship between Oblomov and Olga Ilyinskaya, the hope that “happiness is possible” also arises in us, and, indeed, Ilya Ilyich is simply transformed. We see him in the lap of nature, in the country, far from the dusty bustle of the capital, and from the dusty sofa. He is almost like a child, and this village reminds us so much of Oblomovka, when Ilya Ilyich’s mind was still childish and inquisitive, and when the infection of Russian spleen had not yet had time to take root in his body and soul. Probably, in Olga he found his early deceased mother and just as unquestioningly he began to obey her, and was also happy that she took patronage over him, because he never learned to manage his life himself. But love for Olga is another fairy tale, a truth invented this time by himself, although he wholeheartedly believes in it. The “superfluous person” is not able to grow this feeling, because it is also superfluous for him, just as he is superfluous for the whole world. However, Oblomov does not lie when he confesses his love to Olga, for Olga is indeed a “fairy-tale” character, because only a fairy from a fairy tale can fall in love with a person like him. How many wrong things Oblomov does - this is the letter he invented at night, this is the constant fear that people will gossip about them, this is the endlessly drawn-out matter with arranging the wedding. Circumstances are always higher than Oblomov, and a person who is unable to control them will certainly slide into the abyss of misunderstanding, despondency and blues. But Olga patiently waits for him, one can only envy her patience, and, finally, Oblomov himself decides to break off the relationship. The reason is very stupid and not worthwhile, but that’s Oblomov. And this is probably the only action in his life that he could decide to do, but the action is stupid and absurd: “Who cursed you, Ilya? What did you do? You are kind, smart, gentle, noble... and... you are dying! What ruined you? There is no name for this evil... “There is,” he said barely audibly. She looked at him questioningly, her eyes full of tears. - Oblomovism!” This is how one phenomenon ruined a person’s entire life! However, we should not forget that it was he, this man, who gave birth to this phenomenon. It did not grow out of nowhere, it was not brought in like a disease, it was carefully nurtured, groomed and cherished in the soul of our hero, and took such strong roots that it is no longer possible to pull it out. And when, instead of a person, we see only this phenomenon, wrapped in an outer shell, then such a person really becomes “superfluous” or ceases to exist altogether. This is how Oblomov dies quietly in the house of the widow Pshenitsyna, the same phenomenon instead of a person.
I would like to think that society is still to blame for such a weak-willed existence of Oblomov, because he lives in a quiet and calm time, free from shocks, uprisings and wars. Maybe his soul is simply at peace, because he doesn’t have to fight, worry about the fate of the people, his safety, the safety of his family. At such a time, many people are simply born, live and die, just like in Oblomovka, because time does not require heroic deeds from them. But we can say with confidence that even if danger arose, Oblomov would not, under any circumstances, go to the barricades. This is his tragedy. And what then to do with Stolz, he is also a contemporary of Oblomov and lives with him in the same country and in the same city, however, his whole life is like a small feat. No, Oblomov himself is to blame, and this makes it even worse, because in essence he good man.
But such is the fate of all “extra” people. Unfortunately, it is not enough to just be a good person, you also need to fight and prove it, which Oblomov, unfortunately, was unable to do. But he became an example for people then and today, an example of what you can become if you are not able not only to control the events of life, but also yourself. They are “superfluous”, these people, they have no place in life, because it is cruel and merciless, first of all, to the weak and infirm, and because one must always fight for a place in this life!
Bibliography
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Tags: Oblomov and “extra people” Essay Literature
IN early XIX century appears in Russian literature whole line works, the main problem of which is the conflict between man and society, the environment that raised him. The most outstanding of them were “Eugene Onegin” by A.S. Pushnina and “Hero of Our Time” by M.Yu. Lermontov. This is how a special literary type- the image of a “superfluous person,” a hero who has not found his place in society, misunderstood and rejected by his environment. This image changed as society developed, acquiring new features, qualities, features, until it reached its 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 elevated to a type, giving 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 presented to us as simply and naturally as in Goncharov’s novel.”
Why can Oblomov be called a “superfluous man”? 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 condition" 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 robe are integral companions of Oblomov’s existence and bright, accurate artistic details, revealing the inner essence and external image Oblomov's life. Living in an imaginary world, fenced off by dusty curtains from real reality, the hero devotes his time to making unrealistic plans and does not bring anything to fruition. 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 raised to such an extreme degree as that of Manilov from the poem by N.V. Gogol " Dead Souls“, and, as Dobrolyubov correctly noted, “Oblomov is not a stupid, 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, thirsting for an ideal, burning with the 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 futility of his existence, and literally and figuratively “lay down on the sofa,” believing that in this way he could preserve the integrity of his personality.
So the hero “laid away” 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 “troubles began with the inability to put on stockings and ended with the inability to live.”
Thus, the main difference between the “superfluous man” of Oblomov and the “superfluous people” of Onegin and Pechorin is that the latter denied social vices in action - real affairs and actions (see Onegin’s life in the village, Pechorin’s communication with the “water society”), while the first “protested” on the sofa, spending his entire life in immobility and inaction. Therefore, if Onegin and Pechorin - “ moral cripples"is largely due to the fault of society, then Oblomov is mainly due to the fault of his own apathetic nature.
In addition, if the type of “extra person” is universal and characteristic not only of Russian, but also foreign literature(B. Consgan, L. de Musset, etc.), then, considering the features of social and spiritual life Russia XIX 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’s “Oblomov”, the image of the “superfluous man” 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, then Goncharov depicts a whole phenomenon of Russian social and spiritual life, called “Oblomovshchia” and incorporating the main vices of one of the characteristic types of noble youth of the 50s of the 19th century.
The main character of the novel by I. A. Goncharov is Ilya Ilyich Oblomov, a kind, gentle, kind-hearted person, capable of experiencing a feeling of love and friendship, but unable to get over himself - get up from the couch, engage in any 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 hero’s soul - bright and pure. In the first chapter, we meet insignificant people - acquaintances of Ilya Ilyich, surrounding him in St. Petersburg, busy with fruitless bustle, creating the appearance of action. In contact with these people, Oblomov’s essence is revealed more and more. We see that Ilya Ilyich has such an important quality that few people possess, like conscience. With each line, the reader gets to know Oblomov’s wonderful soul, and this is precisely why Ilya Ilyich stands out from the crowd of worthless, calculating, heartless people, concerned only with their own person: The soul shone so openly and easily in his eyes, in his smile, in every movement of his head and hands. Having excellent internal qualities, Oblomov is also educated and smart. He knows what it is true values life is not money, not wealth, but high spiritual qualities, a flight of feelings. So why doesn’t such an intelligent and educated person want to work? The answer is simple: Ilya Ilyich, just like Onegin, Pechorin, Rudin, does not see the meaning and purpose of such work, such life. He doesn't want to work like that. This unresolved question, this unsatisfied doubt, drains strength and ruins activity; A person gives up and gives up work, not seeing a goal for it, wrote Pisarev. Goncharov does not introduce a single extra person into the novel - all the heroes reveal Oblomov to us more and more with every step. The author introduces you to Stolz - at first glance, an ideal hero. He is hardworking, prudent, practical, punctual, he managed to make his way in life, made 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 get settled in life, that is, to gain sufficient livelihood, 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. Can such a person be called ideal? Oblomov cannot live for the sake of material well-being; he must constantly develop and 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 thing storyline in the novel are the relationships between Oblomov and Olga Ilyinskaya. It is here that the hero reveals himself to us from the best side, his most cherished corners of his soul are revealed. Olga awakens the best qualities in the soul of Ilya Ilyich, but they do not live in Oblomov for long: Olga Ilyinskaya and Ilya Ilyich Oblomov were too different. She is characterized by harmony of mind and heart, will, which the hero is not able to understand and accept. Olga is full of vital 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 again exchanges romantic walks for a soft sofa and a warm robe. It would seem that what Oblomov is missing, why doesn’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 characters we know: Pechorin, Onegin, Rudin. They all leave their beloved women, not wanting to hurt them. In relation to women, all Oblomovites behave in the same shameful manner. 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 from those for Olga. For him, Agafya Matveevna was closer, in her ever-moving elbows, in her carefully stopping eyes, in her eternal walk from the kitchen to the pantry. Ilya Ilyich lives in a cozy, comfortable house, where everyday life always comes first, and the beloved woman would be a continuation of the hero himself. It would seem that the hero will live 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 sofa to eternal sleep - death. Reading the novel, you involuntarily ask 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 - everything that people lack so much. Everyone, starting with Volkov and ending with Agafya Matveevna, searched and, most importantly, found what they needed for themselves, for their hearts, souls. But Oblomov did not belong anywhere, 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 and Pechorin.
Goncharov I. A.
Essay on a work on the topic: Oblomov and the “extra person”
The main character of the novel by I. A. Goncharov is Ilya Ilyich Oblomov - a kind, gentle, kind-hearted person, capable of experiencing feelings of love and friendship, but unable to step over himself - get up from the couch, engage in any 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 hero’s soul - bright and pure.
In the first chapter we meet insignificant people - acquaintances of Ilya Ilyich, surrounding him in St. Petersburg, busy with fruitless bustle, creating the appearance of action. In contact with these people, Oblomov’s essence is revealed more and more. We see that Ilya Ilyich has this important quality, which few have, like a conscience. With each line, the reader gets to know Oblomov’s wonderful soul, and this is precisely why Ilya Ilyich stands out from the crowd of worthless, calculating, heartless people, concerned only with their own person: “The soul shone so openly and easily in his eyes, in his smile, in every movement of his head and hands.” .
Having wonderful personal traits Oblomov is also educated and smart. He knows what constitutes the true values of life - not money, not wealth, but high spiritual qualities, flight of feelings.
So why is he so smart and educated person doesn't want to work? The answer is simple: Ilya Ilyich, just like Onegin and Pechorin, does not see the meaning and purpose of such work, such life. He doesn't want to work like that. “This unresolved question, this unsatisfied doubt depletes strength, ruins activity; a person gives up and gives up work, not seeing a goal for it,” wrote Pisarev.
Goncharov does not introduce a single extra person into the novel - all the heroes reveal Oblomov to us more and more with every step. The author introduces us to Stolz - at first glance, an ideal hero. He is hardworking, prudent, practical, punctual, he managed to make his way in life, made 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 get settled 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. Can such a person be called ideal? Oblomov cannot live for the sake of material well-being, he must constantly develop and improve his inner world, and in this one cannot reach the limit, because the soul knows no boundaries in its development. It is in this that Oblomov surpasses Stolz.
But the main storyline in the novel is the relationship between Oblomov and Olga Ilyinskaya. It is here that the hero reveals himself to us the best side, his most cherished corners of his soul are revealed. Olga awakens Ilya Ilyich in the soul best qualities, but they do not live in Oblomov for long: Olga Ilyinskaya and Ilya Ilyich Oblomov were too different. She is characterized by harmony of mind and heart, will, which the hero is not able to understand and accept. Olga is full of vital 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 again exchanges romantic walks for a soft sofa and a warm robe. It would seem that what Oblomov is missing, why doesn’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 characters we know: Pechorin, Onegin, Rudin. They all leave their beloved women, not wanting to hurt them. “In relation to women, all Oblomovites behave in the same shameful manner. 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 caring eyes stopping at everyone, in her eternal walk from the kitchen to the pantry.” Ilya Ilyich lives in a cozy, comfortable house, where everyday life always comes first, and the woman he loves is a continuation of the hero himself. It would seem that the hero would live 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 sofa to eternal sleep - death.
Reading the novel, you involuntarily ask 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 - everything that people so lack. Everyone, starting with Volkov and ending with Agafya Matveevna, searched and, most importantly, found what they needed for themselves, for their hearts, souls. But Oblomov did not belong anywhere, 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 of people, all of them passed before Oblomov. The author showed us that Ilya Ilyich has no place in this life, just like Onegin and Pechorin.
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