Is Oblomov a good person? Can a good person be superfluous? Oblomov and “extra people.”

Goncharov's novel "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. The main character of the novel, Ilya Ilyich Oblomov, is an “extra person” who does not know how to adapt to a new, rapidly changing world, to change himself and his views for the sake of a bright 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 “extra people”?

In Russian literature, this type of hero as an “extra person” appeared in the early 20s of the 19th century. This character was characterized by alienation from the usual noble environment and, in general, the whole official life Russian society, since he felt boredom and his superiority (both intellectual and moral) over others. The “superfluous person” is filled with mental fatigue, can talk a lot but do nothing, and is very skeptical. In this case, the hero is always the heir good condition, which he, however, does not try to increase.
And indeed, Oblomov, having inherited a larger estate from his parents, could easily have settled matters there long ago so that he could live in complete prosperity with the money he received from the farm. However, mental fatigue and boredom overwhelming the hero prevented him from starting 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, covering himself with a blanket. Oblomov does not want to go on visits like others, to communicate with hypocritical and uninteresting people who disappointed him even during his service - when he came to work, Ilya Ilyich hoped that everyone there would be the same friendly family as in Oblomovka, but he encountered with a situation where every person is “for himself.” Discomfort, the inability to find one’s social calling, the feeling of uselessness in the “neo-Oblomov” world leads to the hero’s escapism, immersion in illusions and memories of Oblomov’s wonderful past.

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

Love of the "extra person"

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

The “superfluous man” is not ready for fundamental, sensual love for a woman; for him, it is not so much the real beloved that is important, but a self-created, inaccessible image - we see this both in Onegin’s feelings for Tatyana that flared up years later, and in illusory, “spring” feelings Oblomov to Olga. The “superfluous person” needs a muse - beautiful, unusual and inspiring (for example, like Pechorin’s Bella). However, not finding such a woman, the hero goes to the other extreme - he finds a woman who would replace his mother and create the atmosphere of distant childhood.
Oblomov and Onegin, who are different at first glance, equally suffer from loneliness in the crowd, but if Evgeny does not refuse social life, then for Oblomov the only way out is to immerse himself in himself.

Is Oblomov a superfluous person?

The “superfluous man” in Oblomov is perceived by other characters differently than similar heroes in previous works. Oblomov is kind, simple, fair man who sincerely wants quiet, calm happiness. He is attractive not only to the reader, but also to the people around him - it’s not for nothing that school years His friendship with Stolz does not end and Zakhar continues to serve 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 print, critics defined Oblomov as a “superfluous person,” because the hero of realism, unlike the characters of romanticism, is a typified image that combines the features of an entire group of people? By portraying Oblomov in the novel, Goncharov wanted to show not just one “superfluous” person, but a whole social stratum of educated, wealthy, intelligent, sincere people who could not find themselves in the rapidly changing, new Russian society. The author emphasizes the tragedy of the situation when, unable to change with circumstances, such “Oblomovs” slowly die, continuing to hold tightly to long-gone, but still important and soul-warming memories of the past.

It will be especially useful for 10th graders to familiarize themselves with the above arguments before writing an essay on the topic “Oblomov and “ extra people»».

Work test

"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. The main character of the novel, Ilya Ilyich Oblomov, is an “extra person” who does not know how to adapt to a new, rapidly changing world, to change himself and his views for the sake of a bright 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 “extra people”?

And indeed, Oblomov, having inherited a larger estate from his parents, could easily have settled matters there long ago so that he could live in complete prosperity with the money he received from the farm. However, mental fatigue and boredom overwhelming the hero prevented him from starting any business - from the banal need to get out of bed to writing a letter to the headman.

Love of the "extra person"

If in the matter of time orientation Oblomov differs from the “extra heroes” who preceded him, then in matters of love their fates are very similar. Like Pechorin or Onegin, Oblomov is afraid of love, afraid of the fact that he may change and become different or negatively influence his beloved - even to the point of degradation of her personality. On the one hand, parting with lovers is always a noble step on the part of the “superfluous hero”, on the other hand, it is a manifestation of infantilism - for Oblomov it was an appeal to Oblomov’s childhood, where everything was decided for him, they took care of him and everything was allowed.

Oblomov and Onegin, who are different at first glance, equally suffer from loneliness in the crowd, but if Evgeny does not give up social life, then for Oblomov the only way out is to immerse himself in himself.

Is Oblomov a superfluous person?

The “superfluous man” in Oblomov is perceived by other characters differently than similar heroes in previous works. Oblomov is a kind, simple, honest person who sincerely wants quiet, calm happiness. He is attractive not only to the reader, but also to the people around him - it’s not for nothing that his friendship with Stolz has not stopped since his school years and Zakhar continues to serve 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 print, critics defined Oblomov as a “superfluous person,” because the hero of realism, unlike the characters of romanticism, is a typified image that combines the features of an entire group of people? By portraying Oblomov in the novel, Goncharov wanted to show not just one “extra” person, but an entire social stratum of educated, wealthy, intelligent, sincere people who could not find themselves in the rapidly changing, new Russian society. The author emphasizes the tragedy of the situation when, unable to change with circumstances, such “Oblomovs” slowly die, continuing to hold tightly to long-gone, but still important and soul-warming memories of the past.

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

Oblomov and the “superfluous man”, what do they have in common - an essay on the topic |

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- Ilya Ilyich’s acquaintances 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 have, 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 wonderful personal traits Oblomov is also educated and smart. He knows what it is true values 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, 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 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 you to Stolz - at first glance, 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 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 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 plump 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-lasting, healthy; on the contrary, it accelerated Oblomov’s transition from sleeping on the sofa to eternal sleep- of 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 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.

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, disconnected 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 robe are integral companions of Oblomov’s existence and bright, precise 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 are “moral cripples” in to a greater extent due to the fault of society, then Oblomov - 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. Constant, A. 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 “Oblomovism” and incorporating the main vices of one of the characteristic types of noble youth of the 50s of the 19th century.

Other works on the topic:

I. A. Goncharov in his novel explores human nature, and if in the images of Oblomov and Stolz we find, as it were, two extremes (cordiality, but passivity and activity to the detriment of the soul), then in the image of Olga Ilyinskaya, from my point of view, they were not embodied only the best features of a Russian woman, but also all the best that the writer saw in a Russian person.

Love is the strongest human feeling played big role in life. Oblomov. The love of two women, one smart, sophisticated, gentle, demanding, the other economical, simple-minded, accepting the hero as he is.

Oblomov’s image consists, as it were, of parts. There is Oblomov, a moldy, almost disgusting, greasy, awkward piece of meat. There is Oblomov, in love with Olga Oblomov, who is deeply touching and sympathetic in his sad comedy.

At the center of the novel. Goncharova Oblomov is a complex and contradictory image of a landowner. Ilya Ilyich Oblomov. The first part of the novel depicts what seem to be the most obvious traits of his personality: laziness, lack of will, contemplation.

I want to write about two women who played a huge role in the life of one person. This person. Ilya Ilyich Oblomov main character novel by I. A. Goncharov and one of my favorite literary characters.

Autumn evening. There is no one at home, and I am reading Goncharov’s novel. Still a strange hero - Ilya Ilyich Oblomov. He patiently endures all the blows of fate, resigns himself to the constant shortages in the village and Zakhar’s laziness, to the fact that he is constantly deceived, robbed, and his inherent kindness is abused. He does not strive to achieve wealth, fame, position in society.

The main task In his novel “Oblomov”, Goncharov considered the search for a truly human “norm” of existence, lost in modern world, and a hero who meets this “norm”. But the peculiarity of the embodiment of this author's intention it became that the “artistic ideal” of the individual turns out to be unattainable. It seems to fall into two parts, two main images - Oblomov and Stolz, which are depicted on the basis of the principle of antithesis.

The plot and composition of the novel Oblomov Roman Goncharov's "Oblomov" is strictly and clearly subordinated to the division of the Russian calendar into four seasons. The composition of Goncharov’s masterpiece speaks about this. The events taking place there begin in the spring of May 1st. Summer brings the most stormy action - the love of Oblomov and Olga.

There is no doubt that in order to solve that artistic task, which Goncharov set for himself in the novel “Oblomov,” he needed not just a beautiful and intelligent woman, but a woman whose image would be as close as possible to the ideal. The author did just that: Olga, in her development, represents the highest ideal that only a Russian artist could evoke from that Russian life.

Andrei Stolts is Oblomov’s closest friend; they grew up together and carried their friendship through life. It remains a mystery how such dissimilar people with such different views for life, could maintain deep affection.

Oblomov's personality is far from ordinary, although other characters treat him with slight disrespect. For some reason, they read him as almost inferior in comparison to them. This was precisely the task of Olga Ilyinskaya - to awaken Oblomov, to force him to show himself as an active person.

The image of Oblomov in Russian literature closes the series of “superfluous” people. An inactive contemplator, incapable of active action, at first glance really seems incapable of great and bright feeling, but is this really so? There is no place for global and cardinal changes in the life of Ilya Ilyich Oblomov.

Roman I.A. Goncharov's "Oblomov" permeates the pathos of social criticism. The collision of two heroes (Ilya Oblomov and Andrei Stolts), two opposing lifestyles can be viewed in a broad social sense.

A person is shaped in many ways by childhood. Hence the meaning of “Oblomov’s Dream” in the novel. It is no coincidence that Goncharov called it “the overture of the entire novel.” Yes, this is the key to the whole work, the solution to all its secrets.

Mini-essay “Oblomov and his entourage” Author: Goncharov I.A. Oblomov is a backwardness that interferes with historical progress. Oblomov is sincere, gentle, and has not lost his conscience; subjectively he is incapable of doing evil. Story line depicts the spiritual desolation of the hero, there is lordship and slavery in him - he is a slave to his sofa, laziness.

The image of Oblomov is greatest creation I. A. Goncharova. This type of hero, in general, is not new to Russian literature. We meet him both in the comedy "Lazy" by Fonvizin, and in Gogol's "Marriage". But its most complete and multifaceted embodiment was the image of Oblomov from novel of the same name Goncharova.

The first impression that the hero of I. Goncharov’s novel “Oblomov” makes on the reader is the impression of laziness, immobility, and boredom.

“Oblomov’s Dream” is a special chapter of the novel. “Oblomov’s Dream” tells the story of Ilya Ilyich’s childhood and his influence on Oblomov’s character. “Oblomov’s Dream” shows his native village of Oblomovka, his family, and the way of life according to which they lived on Oblomov’s estate. Oblomovka is the name of two villages owned by the Oblomovs.

The reasons that prompted Oblomov to write a letter to Olga. How Oblomov appears to readers in his letter.

Before we begin our discussion on the topic: do Russia need the Oblomovs? I want to talk about I.S. Goncharov and his great work. I.S. Goncharov is a writer of the second half of the 19th century.

Goncharov began writing the novel Oblomov in 1846. At this time, Russia was a feudal-serf country. The oppression of the serfs had reached its limits.

The novel "Oblomov" was created on the eve of the peasant reform, in 1859. main idea is to show the detrimental influence of serfdom on the lives of peasants and landowners. We see this very influence in the example of one landowner Oblomov.

Did Oblomov ever have a moment of clarity in his life? Yes, and not just once. Love brought him back to life. The love of two women - one: sophisticated, tender, graceful, and the other: economical, simple-minded, sincere. Who can understand Ilya Oblomov?

The image of Oblomov is the greatest artistic generalization, embodying typical character traits generated by Russian patriarchal landowner life.

“Oblomov’s Dream” is a magnificent episode from Goncharov’s novel “Oblomov”. In my opinion, the dream is nothing more than an attempt by Goncharov himself to understand the essence of Oblomov and Oblomovism.

A miracle happened: a little man was born. Who will he be? Will it benefit society? Will he be happy? Nobody knows this yet... A miracle happened: they grew a Human from a little man. What was inherent in nature: a heart of gold, the ability to experience strong feelings, kindness, but at the same time laziness - remains.

What are life ideals Stolz? (based on the novel “Oblomov” by I.A. Goncharov) Author: Goncharov I.A. In I. A. Goncharov’s novel “Oblomov,” Andrei Stolts is the antipode of Oblomov. Every feature of Stolz is a blatant protest against the qualities of Oblomov. The first one loves active and interesting life, the second often falls into apathy, he is like a snail that is afraid to get out of its shell.

Problems of the novel by I. A. Goncharov “Oblomov” Author: Goncharov I.A. “Oblomov” was published in “ Domestic notes"beginning in January 1859, in parts, over a period of four months and provoked a violent backlash of criticism. In Dobrolyubov’s article “What is Oblomovism?” The problems of the novel were considered from a sociological perspective, Oblomov’s character was interpreted as the embodiment of all the class vices of the nobility, while the philosophical aspect of “Oblomov” was left without consideration.

Plot antitheses in the novel "Oblomov" Author: Goncharov I.A. 1. Oblomov - Stolz. 2. Oblomov - Olga Ilyinskaya Stolz - not positive hero novel, his activity sometimes resembles the activity of Sudbinsky from the despised Stolz of Oblomov’s St. Petersburg entourage: work, work, work again, like a machine, without rest, entertainment and hobbies.

Oblomov is contrasted in the novel by Andrei Stolts. Initially, he was thought of by Goncharov as a positive hero, worthy of Oblomov’s antipode. The author dreamed that over time many “Stoltsevs will appear under Russian names.”

An essay on the topic of whether Oblomov and Stolz, the main characters of Goncharov’s novel “Oblomov,” should be re-educated. The author comes to the conclusion that his lifestyle is a purely personal matter and re-educating Oblomov and Stolz is not only useless, but also inhumane.

(According to one of the works of the Russian literature of the 19th century centuries) ... at the basis of Oblomov’s nature lay a pure and good principle, filled with deep sympathy for everything that was good and that only opened up and responded to the call of this ... heart.

At the beginning of the 19th century, a number of works appeared in Russian literature, the main problem of which was 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 is created and developed - the image of a “superfluous person”, a hero who has not found his place in society, is 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 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 robe are integral companions of Oblomov's existence and bright, precise artistic details that reveal Oblomov's inner essence and outer lifestyle. 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’s “Dead Souls”, and, as Dobrolyubov correctly noted, “Oblomov is not a stupid, apathetic nature, without aspirations and feelings, but a person also looking for something in his life, thinking about something...”.

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 deeds and actions (see Onegin’s life in the village, Pechorin’s communication with the “water society”) , while the first one “protested” on the sofa, spending his entire life in immobility and inaction. Therefore, if Onegin and Pechorin are “moral cripples” 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 “superfluous person” is universal and characteristic not only of Russian, but also foreign literature (B. Consgan, 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 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 that has not found its place in society, while Goncharov depicts an entire phenomenon of Russian social and spiritual life, called “Oblomovism” and incorporating the main vices of one of the characteristic types of noble youth of the 50s of the 19th century.