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Who are the superfluous people in Russian literature. The problem of the "superfluous person" in Russian literature of the 19th century

Who are the superfluous people in Russian literature. The problem of the "superfluous person" in Russian literature of the 19th century

23.03.2019

The image of a bored hero in the works of Russian
classics XIXV.

With all the variety of literary
types in the Russian classics of the 19th century, the image of a bored hero stands out clearly.
It is often associated with the image extra person»

"extra person", "extra people" -
where did this term come from in Russian literature? Who was the first to successfully apply
him, that he firmly and permanently established himself in the works of Pushkin, Lermontov,
Turgenev, Goncharov? Many literary critics believe that it was invented by A.I.
Herzen. According to another version, Pushkin himself in a draft version VIII chapters
"Eugene Onegin" called his hero superfluous: "Onegin is worth something superfluous."

Besides Onegin, many critics XIX century and
some literary scholars of the twentieth century refer Pechorin, heroes
novels by I.S. Turgenev Rudin and Lavretsky, as well as Oblomov I.A. Goncharov.

What are the main thematic
signs of these characters, "superfluous people"? First of all, it is a personality
potentially capable of any public action. It does not accept proposals
society "rules of the game", characterized by disbelief in the possibility of changing anything.
"Superfluous person" - a contradictory personality, often in conflict with society and
his way of life. It is also a hero, certainly a dysfunctional one in
relations with parents, and unhappy in love. His position in society
unstable, contains contradictions: it is always connected with at least some side
nobility, but - already in a period of decline, about fame and fortune - rather a memory. He
placed in an environment that is somehow alien to him: a higher or lower environment,
there is always a certain motive of alienation, not always immediately lying on
surfaces. The hero is moderately educated, but this education is rather incomplete,
unsystematic; in a word, this is not a deep thinker, not a scientist, but a person with
the "power of judgment" to make quick but immature conclusions. often
inner emptiness, hidden uncertainty. Often - the gift of eloquence,
writing skills, note-taking, or even writing poetry. Always some
the claim to be the judge of one's fellow men; a shade of hatred is required. In a word,
the hero is a victim of the canons of life.

The novel "Eugene Onegin" - a work of wonder creative destiny. It was created over seven
years - from May 1823 to September 1830.

Pushkin, in the process of working on
novel, set himself the task of demonstrating in the image of Onegin "that
premature old age of the soul, which has become the main feature of the young
generations." And already in the first chapter, the writer notes social factors,
determined the character of the protagonist. This belongs to the upper layer
nobility, education, training, the first steps in the world, usual for this circle,
the experience of a "monotonous and motley" life for eight years. The life of the "free"
nobleman, not burdened with service - vain, carefree, full of entertainment
and love stories - fit into one tiring day ..

In short, Onegin early youth- "having fun and luxury a child." By the way, on this
life segment Onegin - a man in his own way original, witty, "scientist
small", but still quite ordinary, dutifully following the secular "decorative
crowd." The only thing in which Onegin "was a true genius" was that "he knew more firmly
of all sciences,” as the Author remarks, not without irony, was “the science of tender passion,” then
there is the ability to love without loving, to imitate feelings, remaining cold and
prudent.

First chapter - crucial moment V
the fate of the protagonist, who managed to abandon the stereotypes of secular
behavior, from the noisy, but internally empty "ritual of life." Thus Pushkin
showed how, from a faceless, but demanding unconditional obedience crowd, suddenly
appeared bright, outstanding personality capable of overthrowing the "burden" of secular
conventions, "get away from the hustle and bustle."

Onegin's retreat is his
an undeclared conflict with the world and with the society of rural landowners - only
at first glance, it seems like a "fad" caused by purely individual
reasons: boredom, "Russian melancholy". This new stage hero's life. Pushkin
emphasizes that this conflict of Onegin, "Onegin's inimitable
strangeness "became a kind of spokesman for the protest of the protagonist against
social and spiritual dogmas that suppress personality in a person, depriving him of the right
To be youreself. And the emptiness of the hero's soul was the result of emptiness and
inconsistency secular life. Onegin is looking for new spiritual values: in
Petersburg and in the countryside, he diligently reads, tries to write poetry. This search for him
new life truths stretched out on long years and remained unfinished.
The internal drama of this process is also obvious: Onegin painfully frees himself.
from the burden of old ideas about life and people, but the past does not let him go.
It seems that Onegin is the rightful owner own life. But that's only
illusion. In St. Petersburg and in the countryside, he is equally bored - he still cannot
overcome mental laziness and dependence on “public opinion”.
The consequence of this was that the best inclinations of his nature were killed by secular
life. But the hero cannot be considered only a victim of society and circumstances. Having changed
way of life, he took responsibility for his own destiny. But giving up idleness
and the vanity of the world, alas, did not become a doer, but remained only a contemplator.
The feverish pursuit of pleasure has been replaced by solitary contemplation
Main character.

For writers who devote their
creativity, attention to the theme of "extra person", it is characteristic to "test" one's own
hero friendship, love, duel, death. Pushkin was no exception. Two
trials that awaited Onegin in the village -
test of love and test of friendship - showed that external freedom automatically
does not entail liberation from false prejudices and opinions. In a relationship
with Tatyana Onegin proved himself to be a noble and mentally subtle person. AND
you can’t blame the hero for not responding to Tatyana’s love: the heart, like
known, do not tell. Another thing is that Onegin did not listen to his own voice.
hearts, but the voices of reason. In confirmation of this, I will say that even in the first chapter
Pushkin noted in the protagonist a "sharp, chilled mind" and an inability to
strong feelings. And it was this mental disproportion that caused the failed
love of Onegin and Tatyana. Onegin also did not pass the test of friendship. And in this
In this case, the cause of the tragedy was his inability to live a life of feeling. not without reason
the author, commenting on the state of the hero before the duel, remarks: “He could feel
discover, / And not bristle like a beast. And on Tatyana's name day, and before
duel with Lensky, Onegin showed himself to be a "ball of prejudice", "a hostage
secular canons", deaf to the voice of one's own heart, and to the feelings
Lensky. His behavior at the name day is the usual "social anger", and the duel -
a consequence of the indifference and fear of the evil speaking of the inveterate bully Zaretsky and
landlord neighbors. Onegin himself did not notice how he became a prisoner of his old
idol - "public opinion". After the murder of Lensky, Evgeny changed
just drastically. It is a pity that only tragedy could reveal to him before
inaccessible world of feelings.

In a depressed state of mind, Onegin
leaves the village and begins wandering around Russia. These travels give him
the opportunity to take a fuller look at life, to reevaluate oneself, to understand how
fruitlessly and he wasted a lot of time and energy in empty pleasures.

In the eighth chapter, Pushkin showed a new
stage in the spiritual development of Onegin. Having met Tatyana in Petersburg, Onegin
completely transformed, in him nothing remained of the former, cold and
rational man - he is an ardent lover, not noticing anything, except
the object of his love (and this is very reminiscent of Lensky). He first experienced
a real feeling, but it turned into a new one love drama: now Tatiana
could not answer his belated love. And, as before, in the foreground in
characterization of the hero - the relationship between reason and feeling. Now the mind
was defeated - Onegin loves, "mind not listening to strict penalties." However, the text completely lacks the results of the spiritual
development of a hero who believes in love and happiness. So, Onegin again did not reach
desired goal, there is still no harmony between reason and feeling.

Thus, Eugene Onegin
becomes a "superfluous person". Belonging to the light, he despises it. Him like
Pisarev noted, all that remains is that “put aside the boredom of secular life,
as a necessary evil." Onegin does not find his true purpose and place in
life, he is burdened by his loneliness, lack of demand. Speaking in words
Herzen, "Onegin ... an extra person in the environment where he is, but, not possessing
the necessary strength of character, can not escape from it in any way. But, in the opinion of
writer, the image of Onegin is not finished. After all, a novel in verse is essentially
ends with the following question: “What will Onegin be like in the future?” Myself
Pushkin leaves the character of his hero open, thereby emphasizing the very
Onegin's ability to abruptly change value orientations and, I note,
a certain readiness for action, for an act. True, the opportunities for
Onegin has practically no realization of himself. But the novel doesn't answer
the above question, he asks the reader.

After Pushkin's hero And Pechorin, actor novel
M.Yu. Lermontov "Hero of our time", showed himself a type of "superfluous person".
The bored hero appears before the reader again, but he differs from Onegin.

Onegin has indifference, passivity,
inaction. Not that Pechorin. “This man is not indifferent, not apathetically
suffering: he is madly chasing after life, looking for it everywhere; he bitterly accuses
yourself in your delusions. Pechorin is characterized by bright individualism,
painful introspection, internal monologues, the ability to impartially assess
myself. "Moral cripple," he will say
About Me. Onegin is simply bored, skepticism and disappointment are inherent in him.
Belinsky once noted that “Pechorin is a suffering egoist”, and “Onegin is
bored". And to some extent it is.

Pechorin from boredom, from dissatisfaction in life
puts experiments on himself and on people. So, for example, in "Bela" Pechorin
for the sake of gaining a new spiritual experience, without hesitation, he sacrifices both the prince and
Azamat, and Kazbich, and Bela herself. In "Taman" he allowed himself out of curiosity
intervene in life honest smugglers” and made them flee, leaving the house, and
along with the blind boy.

In "Princess Mary" Pechorin intervenes in the ensuing
the novel of Grushnitsky and Mary, bursts into the adjusted life of Vera like a whirlwind. To him
hard, he is empty, he is bored. He writes about his longing and attraction
“possession of the soul” of another person, but never once wonders where it came from
his right to this possession! Pechorin's reflections in "The Fatalist" about faith and
unbelief relate not only to the tragedy of the loneliness of modern man in
the world. Man, having lost God, has lost the main thing - moral guidelines, a firm and
certain system moral values. And no experiments will give
Pechorin of the joy of being. Only faith can give confidence. A deep faith
ancestors lost in the age of Pechorin. Having lost faith in God, the hero also lost faith in
himself - this is his tragedy.

It is surprising that Pechorin, understanding all this, at the same time
time does not see the origins of its tragedy. He thinks as follows: "Evil
breeds evil; the first suffering gives the concept of the pleasure of torturing another…”
It turns out that the whole world surrounding Pechorin is built on the law of the spiritual
slavery: torturing in order to take pleasure in the suffering of another. AND
the unfortunate, suffering, dreams of one thing - to take revenge on the offender. Evil begets evil
not by itself, but in a world without God, in a society where moral
laws where only the threat of legal punishment somehow limits revelry
permissiveness.

Pechorin constantly feels his moral
inferiority: he speaks of the two halves of the soul, that the best part souls
dried up, evaporated, died. He "became a moral cripple" - that's
the true tragedy and punishment of Pechorin.

Pechorin is a controversial personality,
Yes, he himself understands this: “... I have an innate passion to contradict; my whole
life was only a chain of sad and unfortunate contradictions of heart or mind.
The contradiction becomes the formula for the existence of the hero: he is aware of the
“high purpose” and “immense forces” - and exchanges life in “passions
empty and ungrateful." Yesterday he bought a carpet that the princess liked, and
today, having covered his horse with it, he slowly led it past Mary's windows ... The rest of the day
comprehended the "impression" that he made. And it takes days, months, life!

Pechorin, unfortunately, remained so
until the end of life "smart uselessness." People like Pechorin were created
socio-political conditions of the 30s XIX centuries, times of grim reaction and
police supervision. He is truly lively, gifted, brave, smart. His
tragedy is the tragedy of an active person who has nothing to do.
Pechorin craves activity. But the opportunities to apply these spiritual
he has no desire to put them into practice, to realize them. A debilitating feeling of emptiness
boredom, loneliness pushes him to all sorts of adventures ("Bela", "Taman",
"Fatalist"). And this is the tragedy not only of this hero, but of the entire generation of the 30s
years: “A crowd gloomy and soon forgotten, / We will pass over the world without noise and
trace, / Not throwing a fruitful thought to the centuries, / Not a genius of labor begun ... ".
"Gloomy" ... This is a crowd of disunited loners, not connected by a unity of goals,
ideals, hopes...

He did not ignore the topic of "superfluous
people "and I.A. Goncharov, creating one of the outstanding novels XIX centuries - "Oblomov". His central character, Ilya
Ilyich Oblomov - a bored gentleman lying on a sofa, dreaming of transformations
and a happy life in the family circle, but doing nothing to make dreams come true in
reality. Undoubtedly, Oblomov is a product of his environment, a kind of
the result of the social and moral development of the nobility. For the nobility
the time of existence at the expense of serfs did not pass without a trace. All this
gave rise to laziness, apathy, an absolute inability to vigorous activity And
typical class vices. Stolz calls this "Oblomovism".

Critic Dobrolyubov as Oblomov
saw, first of all, a socially typical phenomenon, and the key to this image
considered the chapter "Oblomov's Dream". The "dream" of the hero is not quite like a dream. This
a rather harmonious, logical, with an abundance of details picture of Oblomovka's life.
Most likely, this is not actually a dream, with its characteristic illogicality, but
conditional dream. The task of "Sleep", as noted by V.I. Kuleshov, is to give "preliminary
story, an important message about the life of the hero, his childhood ... The reader receives important
information, thanks to which upbringing the hero of the novel became a couch potato ... receives
the opportunity to realize where and in what exactly this life “broke off”. What is
childhood Oblomov? This is a cloudless life in the estate, "fullness of satisfied
desires, contemplation of pleasure.

Is it much different from the one
which Oblomov leads in the house on Gorokhovaya Street? Although Ilya is ready to contribute to this
idyll some changes, its foundations will remain unchanged. Him completely
the life that Stoltz leads is alien: “No! What of the nobles to make artisans! He
has absolutely no doubt that the peasant must always work for
master.

And Oblomov's trouble is, first of all,
that the life he rejects does not itself accept him. Oblomov is alien
activity; his worldview does not allow him to adapt to life
landowner-entrepreneur, find his own path, as Stolz did.All this makes Oblomov "an extra person."

Extra person- a literary type characteristic of the works of Russian writers of the 1840s and 1850s. Usually this is a person of considerable ability who cannot realize his talents in the official field of Nikolaev Russia.

Belonging to the upper classes of society, the superfluous person is alienated from the nobility, despises bureaucracy, but, having no other prospect of self-realization, mostly spends time in idle entertainment. This lifestyle fails to alleviate his boredom, leading to duels, gambling and other self-destructive behavior. Typical features of the superfluous person include "mental fatigue, deep skepticism, discord between word and deed, and, as a rule, social passivity."

The name "superfluous man" was assigned to the type of disillusioned Russian nobleman after the publication in 1850 of Turgenev's story The Diary of a Superfluous Man. The earliest and classic examples are Eugene Onegin A. S. Pushkin, Chatsky from "Woe from Wit", Pechorin M. Lermontov - go back to the Byronic hero of the era of romanticism, to Rene Chateaubriand and Adolphe Constant. The further evolution of the type is represented by Herzen Beltov (“Who is to blame?”) and heroes early works Turgenev (Rudin, Lavretsky, Chulkaturin).

Superfluous people often bring trouble not only to themselves, but also female characters who have the misfortune to love them. The negative side of superfluous people, associated with their displacement outside the social and functional structure of society, comes to the fore in the works of literary officials A.F. Pisemsky and I.A. Goncharov. The latter opposes practical businessmen “hovering in the skies” to loafers: Aduev Jr. - Aduev Sr., and Oblomov - Stolz.

Who is this "extra person"? This is a well-educated, intelligent, talented and extremely gifted hero (man), who, by virtue of various reasons(both external and internal) could not realize himself, his capabilities. The "superfluous person" is looking for the meaning of life, the goal, but does not find it. Therefore, he wastes himself on life's trifles, on entertainment, on passions, but does not feel satisfaction from this. Often the life of an "extra person" ends tragically: he dies or dies in the prime of life.

Examples of "extra people":

The ancestor of the type of "superfluous people" in Russian literature is considered Eugene Onegin from novel of the same name A.S. Pushkin. In terms of his potential, Onegin is one of the best people of his time. He has a sharp and penetrating mind, broad erudition (he was interested in philosophy, astronomy, medicine, history, etc.) Onegin argues with Lensky about religion, science, morality. This hero even strives to do something real. For example, he tried to alleviate the fate of his peasants (“He replaced the corvee with an old dues with a light one with a yoke”). But all this for a long time went to waste. Onegin was just burning through his life, But he got bored very soon. The bad influence of secular Petersburg, where the hero was born and raised, did not allow Onegin to open up. He did nothing useful not only for society, but also for himself. The hero was unhappy: he did not know how to love and, according to by and large, nothing could interest him. But throughout the novel, Onegin changes. It seems to me that this is the only case when the author leaves hope to the “extra person”. Like everything in Pushkin, open final novel is optimistic. The writer leaves his hero hope for a revival.

The next representative of the type of "superfluous people" is Grigory Alexandrovich Pechorin from the novel by M.Yu. Lermontov "A Hero of Our Time". This hero reflected characteristic the life of society in the 30s of the 19th century - the development of social and personal self-awareness. Therefore, the hero, the first in Russian literature, tries to understand the reasons for his misfortune, his difference from others. Of course, Pechorin has enormous personal powers. He is gifted and even talented in many ways. But he does not find the use of his forces. Like Onegin, Pechorin indulged in all serious things in his youth: secular revels, passions, novels. But as a non-empty person, the hero very soon got bored with all this. Pechorin understands that secular society destroys, dries up, kills the soul and heart in a person.

What is the reason for the life restlessness of this hero? He does not see the meaning of his life, he has no purpose. Pechorin does not know how to love, because he is afraid of real feelings, afraid of responsibility. What is left for the hero? Only cynicism, criticism and boredom. As a result, Pechorin dies. Lermontov shows us that in the world of disharmony there is no place for a person who, with all his soul, albeit unconsciously, strives for harmony.

The next in the line of "superfluous people" are the heroes of I.S. Turgenev. First of all, this Rudin- the main character of the novel of the same name. His worldview was formed under the influence of philosophical circles of the 30s of the 19th century. Rudin sees the meaning of his life in serving high ideals. This hero is a great orator, he is able to lead, ignite the hearts of people. But the author constantly checks Rudin "for strength", for viability. The hero of these checks does not stand up. It turns out that Rudin is only able to speak, he cannot put his thoughts and ideals into practice. The hero doesn't know real life, can not assess the circumstances and their strength. Therefore, he is "out of business."
Evgeny Vasilyevich Bazarov stands out from this orderly line of heroes. He is not a nobleman, but a commoner. He had, unlike all previous heroes, to fight for his life, for his education. Bazarov is well aware of reality, the everyday side of life. He has his "idea" and implements it as best he can. In addition, of course, Bazarov is a very intellectually powerful person, he has great potential. But the point is that the very idea that the hero serves is erroneous and pernicious. Turgenev shows that it is impossible to destroy everything without building anything in return. In addition, this hero, like all other "superfluous people", does not live the life of the heart. He gives all his potential to mental activity.

But man is an emotional being, a being with a soul. If a person knows how to love, then there is a high probability that he will be happy. Not a single hero from the gallery of "superfluous people" is happy in love. This speaks volumes. All of them are afraid to love, afraid or cannot come to terms with the surrounding reality. All this is very sad, because it makes these people unhappy. The enormous spiritual strength of these heroes and their intellectual potential are being wasted. The unviability of "superfluous people" is evidenced by the fact that they often die untimely (Pechorin, Bazarov) or vegetate, wasting themselves in vain (Beltov, Rudin). Only Pushkin gives his hero hope for rebirth. And this inspires optimism. So, there is a way out, there is a way to salvation. I think that he is always inside the personality, you just need to find strength in yourself.

Image " little man"in Russian literature of the 19th century

"Small man"- a type of literary hero that arose in Russian literature with the advent of realism, that is, in 20-30 years XIX century.

The theme of the "little man" is one of the cross-cutting themes of Russian literature, which was constantly addressed by writers of the 19th century. A.S. Pushkin was the first to touch it in the story “ Stationmaster". The successors of this theme were N.V. Gogol, F.M. Dostoevsky, A.P. Chekhov and many others.

This person is small precisely in social terms, since he occupies one of the lower rungs of the hierarchical ladder. His place in society is little or completely invisible. A person is considered “small” also because the world of his spiritual life and claims is also extremely narrow, impoverished, filled with all sorts of prohibitions. For him there are no historical and philosophical problems. He lives in a narrow and closed circle of his vital interests.

The theme of the "little man" in Russian literature is associated with the best humanist traditions. Writers invite people to think about the fact that every person has the right to happiness, to their own outlook on life.

Examples of "little people":

1) Yes, Gogol in the story "The Overcoat" characterizes the protagonist as a poor, ordinary, insignificant and inconspicuous person. In life, he was assigned the insignificant role of a copyist of departmental documents. Brought up in the sphere of subordination and execution of orders of superiors, Akaky Akakievich Bashmachkin not accustomed to reflect on the meaning of his work. That is why, when he is offered a task that requires the manifestation of elementary ingenuity, he begins to worry, worry, and in the end comes to the conclusion: “No, it’s better to let me rewrite something.”

The spiritual life of Bashmachkin is in tune with his inner aspirations. The accumulation of money to buy a new overcoat becomes for him the goal and meaning of life. The theft of a long-awaited new thing, which was acquired through hardship and suffering, becomes a disaster for him.

And yet Akaky Akakievich does not look like an empty, uninteresting person in the mind of the reader. We imagine that there were a great many such small, humiliated people. Gogol urged society to look at them with understanding and pity.
This is indirectly demonstrated by the surname of the protagonist: diminutive suffix -chk-(Bashmachkin) gives it the appropriate shade. "Mother, save your poor son!" - the author will write.

Calling for justice the author raises the question of the need to punish the inhumanity of society. As compensation for the humiliation and insults suffered during his lifetime, Akaky Akakievich, who rose from the grave in the epilogue, comes through and takes away their overcoats and fur coats. He calms down only when he takes away the outer clothing of the "significant person" who played a tragic role in the life of the "little man".

2) In the story Chekhov "Death of an official" we see the slavish soul of an official whose understanding of the world is completely distorted. There is no need to talk about human dignity. The author gives his hero a wonderful last name: Chervyakov. Describing the small, insignificant events of his life, Chekhov seems to look at the world with Chervyakov's eyes, and these events become huge.
So, Chervyakov was at the performance and “felt on top of bliss. But suddenly ... sneezed. Looking around like polite person”, the hero was horrified to find that he had sprayed a state general. Chervyakov begins to apologize, but this seemed not enough to him, and the hero asks for forgiveness again and again, day after day ...
There are a lot of such little officials who know only their little world and it is not surprising that their experiences are made up of such small situations. The author conveys the whole essence of the official's soul, as if examining it under a microscope. Unable to bear the cry in response to the apology, Chervyakov goes home and dies. This terrible disaster his life is the catastrophe of his limitations.

3) In addition to these writers, Dostoevsky also addressed the theme of the “little man” in his work. The main characters of the novel "Poor people" - Makar Devushkin- a half-impoverished official, crushed by grief, want and social lawlessness, and Varenka- a girl who has become a victim of social ill-being. Like Gogol in The Overcoat, Dostoevsky turned to the theme of the disenfranchised, immensely humiliated "little man" who lives his own life. inner life under conditions that violate human dignity. The author sympathizes with his poor heroes, shows the beauty of their soul.

4) Theme "poor people" develops as a writer in the novel "Crime and Punishment". One by one, the writer reveals before us pictures of terrible poverty, which humiliates the dignity of a person. The scene of the work becomes Petersburg, and the poorest district of the city. Dostoevsky creates a canvas of immeasurable human torment, suffering and grief, peers penetratingly into the soul of the “little man”, discovers in him deposits of enormous spiritual wealth.
Family life unfolds before us Marmeladov. These are people crushed by reality. He drinks himself with grief and loses his human appearance official Marmeladov, who has "nowhere else to go." Exhausted by poverty, his wife Ekaterina Ivanovna dies of consumption. Sonya is released into the street to sell her body in order to save her family from starvation.

The fate of the Raskolnikov family is also difficult. His sister Dunya, wanting to help her brother, is ready to sacrifice herself and marry the rich Luzhin, whom she feels disgusted with. Raskolnikov himself conceives a crime, the roots of which, in part, lie in the sphere social relations in society. The images of “little people” created by Dostoevsky are imbued with the spirit of protest against social injustice, against the humiliation of man and faith in his high calling. The souls of the "poor" can be beautiful, full generosity and beauty, but broken by the hardest conditions of life.

6. The Russian world in the prose of the 19th century.

For lectures:

Depiction of reality in Russian literature XIX century.

1. Landscape. Functions and types.

2. Interior: detail problem.

3. The image of time in a literary text.

4. Motif of the road as a form of artistic development national picture peace.

Scenery - not necessarily an image of nature, in literature it may involve a description of any open space. This definition corresponds to the semantics of the term. From French - country, area. In French art theory, landscape description incorporates both the image of wildlife and the image of objects created by man.

The well-known typology of landscapes is based on the specifics of the functioning of this text component.

Firstly, landscapes stand out, which are the background of the story. These landscapes, as a rule, indicate the place and time against which the depicted events take place.

The second type of landscape- a landscape creating a lyrical background. Most often, when creating such a landscape, the artist pays attention to meteorological conditions, because this landscape should first of all influence emotional condition reader.

Third type- a landscape that creates/becomes a psychological background of existence and becomes one of the means of revealing the character's psychology.

Fourth type- a landscape that becomes a symbolic background, a means of symbolic reflection of the reality depicted in a literary text.

The landscape can be used as a means of depicting a particular artistic time or as a form of presence of the author.

This typology is not the only one. The landscape can be expositional, dual, etc. Contemporary critics separate the landscapes of Goncharov; it is believed that Goncharov used the landscape for perfect performance about the world. For a person who writes, the evolution of the landscape skill of Russian writers is fundamentally important. There are two main periods:

· pre-Pushkin, during this period the landscapes were characterized by the completeness and concreteness of the surrounding nature;

· post-Pushkin period, the idea of an ideal landscape has changed. It assumes the stinginess of details, the economy of the image and the accuracy of the selection of details. Accuracy, according to Pushkin, involves identifying the most significant feature perceived in a certain way by feelings. This idea of Pushkin, then will be used by Bunin.

Second level. Interior - image of the interior. The main unit of the interior image is a detail (detail), attention to which was first demonstrated by Pushkin. Literary test XIX century did not show a clear boundary between interior and landscape.

Time in literary text in the 19th century it becomes discrete, intermittent. Heroes easily go into memories and whose fantasies rush into the future. There is a selectivity of the attitude to time, which is explained by the dynamics. Time in a literary text in the 19th century has a convention. The maximum conditional time in lyrical work, with the predominance of the grammar of the present tense, the lyrics are especially characterized by the interaction of different time layers. Artistic time is not necessarily concrete, it is abstract. In the 19th century, the depiction of historical color became a special means of concretizing artistic time.

One of the most effective means The image of reality in the 19th century becomes the motif of the road, becomes part of the plot formula, a narrative unit. Initially, this motif dominated the travel genre. IN XI-XVIII centuries in the genre of travel, the motive of the road was used, first of all, to expand ideas about the surrounding space (cognitive function). In sentimentalist prose, the cognitive function of this motif is complicated by evaluativeness. Gogol uses travel to explore the surrounding space. The renewal of the functions of the road motif is associated with the name of Nikolai Alekseevich Nekrasov. "Silence" 1858

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The 19th century is called the "Golden Age" of Russian poetry and the century of Russian literature on a global scale. It should not be forgotten that the literary leap that took place in the 19th century was prepared by the entire course of the literary process of the 17th and 18th centuries. The 19th century is the time of the formation of the Russian literary language, which took shape largely thanks to A.S. Pushkin.
But the 19th century began with the heyday of sentimentalism and the formation of romanticism. These literary trends found expression primarily in poetry. Poetic works of poets E.A. Baratynsky, K.N. Batyushkova, V.A. Zhukovsky, A.A. Feta, D.V. Davydova, N.M. Yazykov. Creativity F.I. Tyutchev's "Golden Age" of Russian poetry was completed. However, the central figure of this time was Alexander Sergeevich Pushkin.
A.S. Pushkin began his ascent to the literary Olympus with the poem "Ruslan and Lyudmila" in 1920. And his novel in verse "Eugene Onegin" was called an encyclopedia of Russian life. Romantic poems by A.S. Pushkin " Bronze Horseman"(1833)," The Fountain of Bakhchisaray", "Gypsies" opened the era of Russian romanticism. Many poets and writers considered A. S. Pushkin their teacher and continued the traditions of creating literary works. One of these poets was M.Yu. Lermontov. Known for it romantic poem"Mtsyri", poetic story "Demon", a lot of romantic poems. Interestingly, Russian poetry of the 19th century was closely connected with the social and political life of the country. Poets tried to comprehend the idea of their special purpose. The poet in Russia was considered a conductor of divine truth, a prophet. The poets urged the authorities to listen to their words. Vivid examples understanding the role of the poet and influence on political life countries are poems by A.S. Pushkin "Prophet", ode "Liberty", "The Poet and the Crowd", a poem by M.Yu. Lermontov "On the Death of a Poet" and many others.
Prose writers of the beginning of the century were influenced by English historical novels W. Scott, whose translations were very popular. The development of Russian prose of the 19th century began with prose works A.S. Pushkin and N.V. Gogol. Pushkin, influenced by English historical novels, creates story " Captain's daughter», where the action takes place against the backdrop of grandiose historical events: at the time Pugachev rebellion. A.S. Pushkin did an enormous job, exploring this historical period . This work was largely political in nature and was directed to those in power.
A.S. Pushkin and N.V. Gogol identified the main artistic types that would be developed by writers throughout the 19th century. This artistic type"an extra person", a model of which is Eugene Onegin in the novel by A.S. Pushkin, and the so-called type of "little man", which is shown by N.V. Gogol in his story "The Overcoat", as well as A.S. Pushkin in the story "The Stationmaster".
Literature inherited its publicism and satirical character from the 18th century. In a prose poem N.V. Gogol "Dead Souls" the writer in a sharp satirical manner shows a swindler who buys dead Souls, various types of landowners who are the embodiment of various human vices(the influence of classicism affects). Comedy is in the same vein. "Inspector". are full satirical images and works by A. S. Pushkin. Literature continues to satirically depict Russian reality. The tendency to portray the vices and shortcomings of Russian society is a characteristic feature of all Russian classical literature . It can be traced in the works of almost all writers of the 19th century. At the same time, many writers implement the satirical trend in a grotesque form. Examples of grotesque satire are the works of N.V. Gogol "The Nose", M.E. Saltykov-Shchedrin "Gentlemen Golovlevs", "History of one city".
WITH mid-nineteenth century, the formation of Russian realistic literature takes place, which is created against the background of the tense socio-political situation that prevailed in Russia during the reign of Nicholas I. The crisis of the feudal system is brewing, the contradictions between the authorities and the common people are strong. There is a need to create a realistic literature that sharply reacts to the socio-political situation in the country. literary critic V.G. Belinsky marks a new realistic trend in literature. His position is being developed by N.A. Dobrolyubov, N.G. Chernyshevsky. A dispute arises between Westerners and Slavophiles about the ways historical development Russia.
Writers address to the socio-political problems of Russian reality. The genre of the realistic novel is developing. Their works are created by I.S. Turgenev, F.M. Dostoevsky, L.N. Tolstoy, I.A. Goncharov. The socio-political prevails philosophical problems. Literature is distinguished by a special psychologism.
people.
literary process At the end of the 19th century, he discovered the names of N.S. Leskov, A.N. Ostrovsky A.P. Chekhov. The latter proved to be a master of the small literary genre- a story, and also an excellent playwright. Competitor A.P. Chekhov was Maxim Gorky.
The end of the 19th century was marked by the formation of pre-revolutionary sentiments. The realist tradition was beginning to fade. It was replaced by the so-called decadent literature, hallmarks which were mysticism, religiosity, as well as a premonition of changes in the socio-political life of the country. Subsequently, decadence grew into symbolism. This opens a new page in the history of Russian literature.

7. Literary situation at the end of the 19th century.

Realism

The second half of the 19th century is characterized by the undivided dominance of the realistic trend in Russian literature. basis realism as an artistic method is socio-historical and psychological determinism. The personality and fate of the depicted person appear as the result of the interaction of his character (or, more deeply, the universal human nature) with the circumstances and laws of social life (or, more broadly, history, culture - as can be seen in the work of A.S. Pushkin).

Realism of the 2nd half of the 19th century. often call critical, or socially accusatory. IN Lately V modern literary criticism there are more and more attempts to abandon such a definition. It is both too wide and too narrow; it levels individual characteristics writers' creativity. The founder of critical realism is often called N.V. Gogol, however, in Gogol's work, social life, history human soul often correlates with such categories as eternity, supreme justice, the providential mission of Russia, the kingdom of God on earth. Gogol's tradition to one degree or another in the second half of the 19th century. picked up by L. Tolstoy, F. Dostoevsky, partly N.S. Leskov - it is no coincidence that in their work (especially later) there is a craving for such pre-realistic forms of comprehension of reality as a sermon, a religious and philosophical utopia, a myth, a life. No wonder M. Gorky expressed the idea of the synthetic nature of Russian classical realism, about its non-delimitation from the romantic direction. IN late XIX- early XX century. the realism of Russian literature not only opposes, but also interacts in its own way with the emerging symbolism. The realism of the Russian classics is universal, it is not limited to the reproduction of empirical reality, it includes a universal content, a “mystical plan”, which brings realists closer to the search for romantics and symbolists.

Social accusatory pathos in pure form appears most in the work of writers of the second row - F.M. Reshetnikova, V.A. Sleptsova, G.I. Uspensky; even N.A. Nekrasov and M.E. Saltykov-Shchedrin, with all their closeness to the aesthetics of revolutionary democracy, are not limited in their work posing purely social, topical issues. Nevertheless, a critical orientation towards any form of social and spiritual enslavement of a person unites all realist writers of the second half of the 19th century.

XIX century revealed the main aesthetic principles and typological properties of realism. In Russian literature of the second half of the XIX century. It is conditionally possible to single out several directions within the framework of realism.

1. The work of realist writers who strive for the artistic recreation of life in the "forms of life itself." The image often acquires such a degree of reliability that about literary heroes speak as if they were living people. I.S. belong to this direction. Turgenev, I.A. Goncharov, partly N.A. Nekrasov, A.N. Ostrovsky, partly L.N. Tolstoy, A.P. Chekhov.

2. Bright in the 60s and 70s the philosophical-religious, ethical-psychological direction in Russian literature is outlined(L.N. Tolstoy, F.M. Dostoevsky). Dostoevsky and Tolstoy have amazing paintings social reality, are depicted in "forms of life itself". But at the same time, writers always start from certain religious and philosophical doctrines.

3. Satirical, grotesque realism(in the 1st half of the 19th century, it was partly represented in the works of N.V. Gogol, in the 60-70s it unfolded in full force in the prose of M.E. Saltykov-Shchedrin). The grotesque does not appear as hyperbole or fantasy, it characterizes the method of the writer; he combines in images, types, plots what is unnatural, and is absent in life, but is possible in the world created creative fantasy artist; similar grotesque, hyperbolic images emphasize certain patterns that prevail in life.

4. Completely unique realism, "hearted" (Belinsky's word) by humanistic thought, presented in art A.I. Herzen. Belinsky noted the “Voltaireian” warehouse of his talent: “talent went into the mind”, which turns out to be a generator of images, details, plots, biographies of a person.

Along with the dominant realistic direction in Russian literature of the second half of the 19th century. also developed the direction of the so-called " pure art- it is both romantic and realistic. Its representatives eschewed "damned questions" (What to do? Who is to blame?), but not reality, by which they meant the world of nature and the subjective feeling of a person, the life of his heart. They were excited by the beauty of life itself, the fate of the world. A.A. Fet and F.I. Tyutchev can be directly comparable with I.S. Turgenev, L.N. Tolstoy and F.M. Dostoevsky. The poetry of Fet and Tyutchev had a direct influence on the work of Tolstoy in the era of Anna Karenina. It is no coincidence that Nekrasov discovered F.I. Tyutchev to the Russian public as a great poet in 1850.

How did the image of the “superfluous person” appear? The history of appearance is as follows: romantic hero, which is not accepted by society, is placed in reality. Everyone ceases to admire the romantic, no one is seduced by the torments that occur in the soul of a loner. Writers understand this and show the true essence of the hero.

Who are referred to as "superfluous people"?

Who are the "extra people"? They possess huge opportunities, a talent that will never be put to use. They cannot see the future, so they often go to have fun in order to avoid boredom. Easier and easier is unlikely to become. Idle entertainment will only destroy them. They lead to gambling, duels. Some people who have researched this problem consider Alexander Chatsky a pioneer in this regard. This character took place in the play "Woe from Wit", written by Griboyedov. Survivals mean nothing to him, and in the play this nobleman talks a lot, but does little.

Onegin is the brightest representative

(Painting by Yu. M. Ignatiev based on the novel "Eugene Onegin")

The most striking representative of the image of "superfluous people" is Eugene Onegin, about whom Pushkin wrote. The nobleman is young, educated. He spins in a secular society, but has no specific goals. He started to do something, but could not finish it. Onegin is unhappy, he does not develop either in friendship or in love. Belinsky compared Onegin with Russian society, which is described in poetry. Nikolaev Russia was often represented by nobles who were disillusioned with life and tired of it.

Pechorin, Oblomov, Bazarov

(Grigory Pechorin)

Many may wonder: “Have they really forgotten about Bazarov, Oblomov, Pechorin?” They also represent "superfluous people", each of which has certain characteristics. As for Pechorin, he is distinguished by a tendency to reflection, the presence of mind. However, this does not help him realize himself. This hero is self-destructive. But, if we compare Pechorin and Onegin, then the first one is in search of the cause of his own suffering.

Oblomov, who is the hero of the novel written by Goncharov, is able to make friends, love, has kind heart. But he prefers to stay at home, he is apathetic and lethargic. Researchers say that this particular hero is the culmination of the era of “superfluous people”.

(Bazarov in disputes with Pavel Petrovich Kirsanov)

If it comes to Evgeny Bazarov, the novel "Fathers and Sons", then everything is different here. This hero is not noble blood. He sets goals for himself, engages in science. However, Bazarov cannot find a place in society. He moves away from everything old, not realizing that something needs to be created instead. Therefore, it is referred to as "superfluous people."

The role of superfluous people in works

It should be noted that just the “extra people” are the heroes of Russian literature who are remembered by readers the most. Why? The authors show individual person, his soul, vices, motives. At the same time, there are no moralizing, educational installations. To some extent, the analysis of the psychological direction takes place in the work.

The image of a bored hero in the works of Russian
classics XIXV.

With all the variety of literary
types in the Russian classics of the 19th century, the image of a bored hero stands out clearly.
It is often associated with the image of an "extra person"

Besides Onegin, many critics XIX century and
some literary scholars of the twentieth century refer Pechorin, heroes
novels by I.S. Turgenev Rudin and Lavretsky, as well as Oblomov I.A. Goncharov.

What are the main thematic
signs of these characters, "superfluous people"? First of all, it is a personality
potentially capable of any social action. It does not accept proposals
society "rules of the game", characterized by disbelief in the possibility of changing anything.
"Superfluous person" - a contradictory personality, often in conflict with society and
his way of life. It is also a hero, certainly a dysfunctional one in
relations with parents, and unhappy in love. His position in society
unstable, contains contradictions: it is always connected with at least some side
nobility, but - already in a period of decline, about fame and fortune - rather a memory. He
placed in an environment that is somehow alien to him: a higher or lower environment,
there is always a certain motive of alienation, not always immediately lying on
surfaces. The hero is moderately educated, but this education is rather incomplete,
unsystematic; in a word, this is not a deep thinker, not a scientist, but a person with
the "power of judgment" to make quick but immature conclusions. often
inner emptiness, hidden uncertainty. Often - the gift of eloquence,
writing skills, note-taking, or even writing poetry. Always some
the claim to be the judge of one's fellow men; a shade of hatred is required. In a word,
the hero is a victim of the canons of life.

The novel "Eugene Onegin" - a work of amazing creative destiny. It was created over seven
years - from May 1823 to September 1830.

In a word, Onegin in his early youth is "a child of fun and luxury." By the way, on this
life segment Onegin - a man in his own way original, witty, "scientist
small", but still quite ordinary, dutifully following the secular "decorative
crowd." The only thing in which Onegin "was a true genius" was that "he knew more firmly
of all sciences,” as the Author remarks, not without irony, was “the science of tender passion,” then
there is the ability to love without loving, to imitate feelings, remaining cold and
prudent.

The first chapter is a turning point in
the fate of the protagonist, who managed to abandon the stereotypes of secular
behavior, from the noisy, but internally empty "ritual of life." Thus Pushkin
showed how, from a faceless, but demanding unconditional obedience crowd, suddenly
a bright, outstanding personality appeared, capable of overthrowing the "burden" of secular
conventions, "get away from the hustle and bustle."

Onegin's retreat is his
an undeclared conflict with the world and with the society of rural landowners - only
at first glance, it seems like a "fad" caused by purely individual
reasons: boredom, "Russian melancholy". This is a new stage in the life of a hero. Pushkin
emphasizes that this conflict of Onegin, "Onegin's inimitable
strangeness "became a kind of spokesman for the protest of the protagonist against
social and spiritual dogmas that suppress personality in a person, depriving him of the right
To be youreself. And the emptiness of the hero's soul was the result of emptiness and
the futility of secular life. Onegin is looking for new spiritual values: in
Petersburg and in the countryside, he diligently reads, tries to write poetry. This search for him
new life truths stretched out for many years and remained unfinished.
The internal drama of this process is also obvious: Onegin painfully frees himself.
from the burden of old ideas about life and people, but the past does not let him go.
It seems that Onegin is the rightful master of his own life. But that's only
illusion. In St. Petersburg and in the countryside, he is equally bored - he still cannot
overcome mental laziness and dependence on “public opinion”.
The consequence of this was that the best inclinations of his nature were killed by secular
life. But the hero cannot be considered only a victim of society and circumstances. Having changed
way of life, he took responsibility for his own destiny. But giving up idleness
and the vanity of the world, alas, did not become a doer, but remained only a contemplator.
The feverish pursuit of pleasure has been replaced by solitary contemplation
Main character.

In the eighth chapter, Pushkin showed a new
stage in the spiritual development of Onegin. Having met Tatyana in Petersburg, Onegin
completely transformed, in him nothing remained of the former, cold and
rational man - he is an ardent lover, not noticing anything, except
the object of his love (and this is very reminiscent of Lensky). He first experienced
a real feeling, but it turned into a new love drama: now Tatyana
could not answer his belated love. And, as before, in the foreground in
characterization of the hero - the relationship between reason and feeling. Now the mind
was defeated - Onegin loves, "mind not listening to strict penalties." However, the text completely lacks the results of the spiritual
development of a hero who believes in love and happiness. So, Onegin again did not reach
desired goal, there is still no harmony between reason and feeling.

Following the Pushkin hero and Pechorin, the protagonist of the novel
M.Yu. Lermontov "Hero of our time", showed himself a type of "superfluous person".
The bored hero appears before the reader again, but he differs from Onegin.

Pechorin from boredom, from dissatisfaction in life
puts experiments on himself and on people. So, for example, in "Bela" Pechorin
for the sake of gaining a new spiritual experience, without hesitation, he sacrifices both the prince and
Azamat, and Kazbich, and Bela herself. In "Taman" he allowed himself out of curiosity
intervene in the life of "honest smugglers" and forced them to flee, leaving their house, and
along with the blind boy.

In "Princess Mary" Pechorin intervenes in the ensuing
the novel of Grushnitsky and Mary, bursts into the adjusted life of Vera like a whirlwind. To him
hard, he is empty, he is bored. He writes about his longing and attraction
“possession of the soul” of another person, but never once wonders where it came from
his right to this possession! Pechorin's reflections in "The Fatalist" about faith and
unbelief relate not only to the tragedy of the loneliness of modern man in
the world. Man, having lost God, has lost the main thing - moral guidelines, a firm and
certain system of moral values. And no experiments will give
Pechorin of the joy of being. Only faith can give confidence. A deep faith
ancestors lost in the age of Pechorin. Having lost faith in God, the hero also lost faith in
himself - this is his tragedy.

Pechorin constantly feels his moral
inferiority: he speaks of the two halves of the soul, that the best part of the soul
dried up, evaporated, died. He "became a moral cripple" - that's
the true tragedy and punishment of Pechorin.

He did not ignore the topic of "superfluous
people "and I.A. Goncharov, creating one of the outstanding novels XIX centuries - "Oblomov". Its central character, Ilya
Ilyich Oblomov - a bored gentleman lying on a sofa, dreaming of transformations
and a happy life in the family circle, but doing nothing to make dreams come true in
reality. Undoubtedly, Oblomov is a product of his environment, a kind of
the result of the social and moral development of the nobility. For the nobility
the time of existence at the expense of serfs did not pass without a trace. All this
gave rise to laziness, apathy, an absolute inability to vigorous activity and
typical class vices. Stolz calls this "Oblomovism".

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 a result, it creates 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 real "heroes of their time" - writers, artists, scientists - and who became, in the words of Belinsky, "intelligent useless 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".
The first in the gallery of "superfluous" people are Onegin and Pechorin - heroes who are characterized by cold prose, independent character, "sharp, chilled mind", where irony borders on sarcasm. These are extraordinary people, and therefore rarely satisfied with themselves, dissatisfied with an easy, carefree existence. They are not satisfied with the monotonous life of the "golden youth". It is easy for heroes to answer with all certainty what does not suit them, and it is much more difficult what they need from life. Onegin and Pechorin are unhappy, "cooled off to life"; they move in a vicious circle, where each action implies further disappointment. Dreamy romantics in their youth, they turned into cold cynics, cruel egoists, as soon as they saw the “light”. Who or what is the reason that smart, educated people turned into "superfluous", who did not find their place in life? It would seem that everything was in their hands, so this is the heroes' own fault? We can say that they themselves are to blame for how their fate turned out, but I still tend to believe that no one and nothing can change a person like society, the social environment, the conditions in which this or that person found himself. It was the "light" that turned Onegin and Pechorin into "moral cripples." Pechorin admits in his diary: "... My soul is spoiled by light, my imagination is restless, my heart is insatiable..." meaning of life, about his role in society, the Onegin nature of the 1920s is characterized to some extent by spiritual apathy, indifference to the outside world. The main difference between Pushkin's Onegin and Lermontov Pechorin - in the end result, to which both heroes come: if Pechorin managed to defend his convictions, denied secular conventions, did not exchange himself for petty aspirations, that is, he completely retained his moral integrity, despite internal contradictions, then Onegin squandered his spiritual strength stimulating to action. He lost the ability to actively fight and, "having lived without a goal, without labor, until the age of twenty-six ... did not know how to do anything." Lermontov depicts us more a strong character than Pushkin, but together they show how a gifted person is destroyed surrounding reality, secular society.
In Goncharov's novel we have before us the story of a man who does not have the makings of a decisive fighter, but has all the qualifications to be a good, decent person. "Oblomov" is a kind of "book of results" of the interaction of the individual and society, moral beliefs and social conditions in which the person is placed. And if, according to the works of Lermontov and Pushkin, we can study the anatomy of one human soul, with all its contradictions, then in Goncharov's novel, a whole phenomenon of social life can be traced - Oblomovism, which has collected 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 a random image that flashed before us was elevated to a type, given to it a generic and constant value”, - wrote N.A. Dobrolyubov. Oblomov is not a new face in Russian literature, "but before it was not exhibited before us so simply and naturally, as in Goncharov's novel."
Unlike Onegin and Pechorin, Ilya Ilyich Oblomov is a weak-willed, sluggish nature, divorced 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 such an extreme degree as, for example, Manilov from “ dead souls", And Dobrolyubov was right when he wrote that "... Oblomov is not a stupid, apathetic nature, without aspirations and feelings, but a person looking for something in his life, thinking about something ..." Like Onegin with Pechorin, the hero of Goncharov in his youth was a romantic, longing for an ideal, burned out from the desire for activity, but, like the previous heroes, "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.” So the main difference
I see Oblomov from Onegin and Pechorin in the fact that if the last two heroes denied social vices in the struggle, in action, then the first "protested" on the couch, believing that this best image life. Therefore, it can be argued that the "smart useless" Onegin and Pechorin and the "extra" man Oblomov are completely different people. The first two heroes moral cripples"through the fault of society, and the third - through the fault 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 Pushkin uses the expression "Russian melancholy" in his novel, and 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 “suffering egoist” Pechorin, the “smart uselessness” Onegin, the apathetic dreamer Oblomov are the offspring of the autocratic-feudal system. Our time, the 20th century, can serve as proof of this. And now a large detachment of "superfluous" people, and in the 90s of the XX century, very many find themselves in the wrong place, do not find the meaning of life. Some at the same time turn into mocking cynics, like Onegin or Pechorin, others, like Oblomov, kill best years life lying on the couch. So Pechorin is a “hero” of our time, and Oblomovism is a phenomenon not only of the 19th century, but also of the 20th century. The evolution of the image of the “superfluous” person continues, and more than one will bitterly say: “My soul is corrupted by the light ...” Therefore, I believe that it is not the fault of the tragedy of the “unnecessary” serfdom, but the society in which distorted true values, and vices often wear the mask of virtue, where a person can be trampled underfoot by a gray, silent crowd.