Composition “Can a good person be “superfluous”? (2). Oblomov and "extra people" What things have become a symbol of "Oblomovism"
Oblomov is a socio-psychological novel written in the 19th century. In the work, the author touches upon a number of social and philosophical problems, including the issues of human interaction with society. The protagonist of the novel, Ilya Ilyich Oblomov, is an “extra person” who cannot adapt to a new, rapidly changing world, change himself and his 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. This character was characterized by alienation from the usual noble environment and, in general, the entire official life of Russian society, as he felt boredom and his superiority (both intellectual and moral) over the others. 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, who are not similar at first glance, equally suffer from loneliness in the crowd, but if Eugene does not give up social life, then for Oblomov, immersion in himself becomes the only way out.
Is Oblomov an extra person?
The "superfluous person" in Oblomov is perceived by other characters differently than similar characters in previous works. Oblomov is a kind, simple, honest person who sincerely wants a quiet, calm happiness. He is sympathetic not only to the reader, but also to the people around him - it is not in vain that his friendship with Stolz has not stopped since his school years 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, intelligent, 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 |
1. What things have become a symbol of "Oblomovism"?
The symbols of "Oblomovism" were a bathrobe, slippers, a sofa.
2. What turned Oblomov into an apathetic couch potato?
Laziness, fear of movement and life, inability to practice, substitution of life for a vague dreaminess, turned Oblomov from a man into an appendage of a dressing gown and sofa.
3. What is the function of Oblomov's dream in the novel by I.A. Goncharov "Oblomov"
The chapter "Oblomov's Dream" draws an idyll of a patriarchal serf village, in which only such Oblomov could grow up. The Oblomovites are shown as sleeping heroes, and Oblomovka as a sleepy kingdom. The dream shows the conditions of Russian life that gave rise to "Oblomovism".
4. Can Oblomov be called "an extra person"?
ON THE. Dobrolyubov noted in the article “What is Oblomovism?” that the features of Oblomovism were characteristic to some extent of both Onegin and Pechorin, that is, “superfluous people”. But the "superfluous people" of previous literature were surrounded by a certain romantic halo, they seemed to be strong people, distorted by reality. Oblomov is also "superfluous", but "reduced from a beautiful pedestal to a soft sofa." A.I. Herzen said that the Onegins and Pechorins treat Oblomov like fathers treat children.
5. What is the peculiarity of the composition of the novel by I.A. Goncharov "Oblomov"?
The composition of the novel by I.A. Goncharov "Oblomov" is characterized by the presence of a double storyline - Oblomov's novel and Stolz's novel. Unity is achieved with the help of the image of Olga Ilyinskaya, which connects both lines. The novel is built on the contrast of images: Oblomov - Stolz, Olga - Pshenitsyna, Zakhar - Anisya. The entire first part of the novel is an extensive exposition introducing the hero already in adulthood.
6. What role does I.A. Goncharov "Oblomov" epilogue?
The epilogue tells about the death of Oblomov, which made it possible to trace the whole life of the hero from birth to the end.
7. Why is the morally pure, honest Oblomov dying morally?
The habit of getting everything from life, without putting any effort into it, developed apathy, inertia in Oblomov, made him a slave of his own laziness. Ultimately, the feudal system and the domestic upbringing generated by it are to blame for this.
8. As in the novel by I.A. Goncharov "Oblomov" shows the complex relationship between slavery and nobility?
Serfdom corrupts not only masters, but also slaves. An example of this is the fate of Zakhar. He is as lazy as Oblomov. During the life of the master, he is content with his position. After the death of Oblomov, Zakhar has nowhere to go - he becomes a beggar.
9. What is "Oblomovism"?
"Oblomovism" is a social phenomenon, consisting in laziness, apathy, inertia, contempt for work and an all-consuming desire for peace.
10. Why did Olga Ilyinskaya's attempt to revive Oblomov fail?
Having fallen in love with Oblomov, Olga tries to re-educate him, to break his laziness. But his apathy deprives her of faith in the future of Oblomov. Oblomov's laziness was higher and stronger than love.
Stolz is hardly a positive hero. Although, at first glance, this is a new, progressive person, active and active, but there is something in him from a machine, always impassive, rational. He is a schematized, unnatural person.
12. Describe Stolz from the novel by I.A. Goncharov "Ob-crowbars".
Stolz is the antipode of Oblomov. He is an active, active person, a bourgeois businessman. He is enterprising, always striving for something. The outlook on life is characterized by the words: "Labor is the image, content, element and purpose of life, at least mine." But Stolz is not capable of experiencing strong feelings; he exudes the calculatedness of each step. The image of Stolz in the artistic sense is more schematic and declarative than the image of Oblomov.
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The main character of the novel by I. A. Goncharov is Ilya Ilyi Oblomov, a kind, gentle, kind-hearted person who is able to experience a feeling of love and friendship, but is 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 an important quality that few people have as conscience. With each line, the reader comes to know the wonderful soul of Oblomov, and it is precisely this that makes Ilya Ilyih stand out from the crowd of worthless, prudent, heartless, preoccupied 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 constitutes the true values of life - not money, not wealth, but high spiritual qualities, a flight of feelings. So why is such a smart and educated person not willing to work? The answer is simple: Ilya Ilyi, just like Onegin, Pechorin, Rudin, 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 gives up, and he gives up work, not seeing a purpose for it, 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 Yas to Stolz - at first glance, an ideal 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 get settled in life, that is, to gain sufficient means of subsistence, family status, chin, 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, on the other hand, 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 is the relationship between Oblomov and Olga Ilyinskaya. It is here that the hero reveals himself to us from the best side, his most cherished corners of the soul are revealed. Olga awakens the best qualities in the soul of Ilya Ilya, but they do not live in Oblomov for long: Olga Ilyinskaya and Ilya Ilyiҹ 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 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 changes romantic walks for a soft sofa and a warm bathrobe again. 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 Ilyi 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 fixed eyes, in her constant walk from the kitchen to the pantry. Ilya Ilyizh 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 long and happily. 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, 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 bless the hero. And the problem lies not in the people around him, but in himself. Goncharov in his novel showed different types of people, they all passed in front of Oblomov. The author showed us that Ilya Ilyich has no place in this life, just like Onegin, Pekorin.
At the beginning of the 19th century, works appeared in Russian literature, the central problem of which is the conflict between the hero and society, the person and the environment that brought him up. And, as a result, a new image is created - the image of an "extra" 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 of social life is traced - 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 is a weak-willed, sluggish nature, 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 originality of the image of Oblomov is that he "protested" on the couch, believing that this is the best way of life, but not through the fault of society, but because of his own nature, his own inaction.
Based on the peculiarities of the life of Russia in the 19th century, we can say that if “superfluous” people were found everywhere, regardless of the 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 the state structure of the country. But I cannot agree that the apathetic dreamer Oblomov is a product of the autocratic-feudal system. Our time can also serve as proof of this, where many find themselves out of place, do not find the meaning of life and, like Oblomov, kill the best years of their lives, 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 it is not serfdom, in particular, that is to blame for the tragedy of the “unnecessary”, but the 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, a number of works appeared in Russian literature, the main problem of which is the conflict between a person and the society 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, precise artistic details that reveal Oblomov's inner essence and outer lifestyle. 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's "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" "blossomed and did not bear fruit." Oblomov became disillusioned with life, lost interest in knowledge, realized the worthlessness of his existence and, literally and figuratively, "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 “extra person” and Onegin’s and Pechorin’s “extra people” 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 "protested" on the couch, spending his whole life in immobility and inactivity. Therefore, if Onegin and Pechorin are “moral cripples” to a greater extent 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 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 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 that 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.
