Why Ilya Oblomov is an extra person. The image of Oblomov as a type of "superfluous person" in Russian literature of the 19th century

Sections: Literature

As long as at least one Russian remains - until then
Oblomov will be remembered.
I.S. Turgenev.

The history of the human soul is perhaps more curious
and no more useful than the history of a whole people.
M.Yu. Lermontov.

Among the works of I.A. Goncharov: “The frigate “Pallada”, “Cliff”, “Ordinary history” - novel "Oblomov" occupies a special place, he is the most famous. The work was written in 1859, a few years before the abolition of serfdom, so the story of the hero reflects the conflict caused by the fact that the nobility ceased to be an advanced estate and lost a significant place in social development. A feature of the novel is that I. Goncharov for the first time in Russian literature examined the life of a person “from the cradle to the grave”. His life, he himself is the main theme of the work, therefore it is called “Oblomov”, although in the history of Russian literature there are not many works called by the name of the protagonist. His surname belongs to the category of “speaking”, because he “ childbirth decrepit chip”, the name Ilya reminds us of an epic hero who lay on the stove until the age of 33, but we know that then Ilya Muromets did so many good deeds that he is still alive in people's memory. And our hero never got up from the sofa (when we meet Oblomov, he is 32-33 years old, but nothing changes in his life). In addition, the author used the technique of repeating the name and patronymic: Ilya Ilyich. This emphasizes that the son repeats the fate of his father, life goes according to routine.

As soon as the novel by I.A. Goncharov was published, Russian critics recorded his hero in the category of “superfluous” people, where Chatsky, Onegin, Pechorin were already “listed”. The literature of the 19th century described, basically, the fate of the losers, obviously, there were not so many of them among the nobles, it was surprising, and they wrote about it. Russian writers of the 19th century tried to understand how, with everything ready (at a time when the heroes of Western literature build their lives as a struggle for survival, for material well-being), Russian heroes - nobles turned out to be losers and at the same time were very rich people, for example, Onegin - " heir to all his relatives". Or, in fact, money can not buy happiness"? Russian heroes and Russian works are still of interest, foreign readers, including schoolchildren, are trying to understand them. And what is interesting for our tenth graders? At the end of the year, a survey was conducted on which of the books read seemed the most interesting. Most of the tenth graders called Goncharov's novel "Oblomov", and according to the program it is studied in an overview, over several lessons.

What can be interesting in a couch potato? When the name Ilya Oblomov is pronounced, significant additions appear in the imagination: a sofa and a dressing gown, which, like a slave, obeyed the movement of the body. Let's take a look at the facial features of his hero, following the author. “ It was a man ... of a pleasant appearance, with dark gray eyes, walking carelessly along the walls, along the ceiling, with that indefinite thoughtfulness that shows that nothing occupies him, nothing disturbs him. From the face, carelessness passed into poses of the whole body, even into the folds of the dressing gown…Color Ilya Ilyich’s face was neither ruddy, nor swarthy, nor positively pale, but indifferent ... If a cloud of concern came over his face from the soul, his eyes were foggy ... ” But in the whole appearance of Oblomov, the “soul shone” openly and clearly. This bright soul wins the hearts of two women: Olga Ilyinskaya and Agafya Matveevna Pshenitsyna. The light of his soul also attracts Andrey Stolz, who, having traveled around Europe, specially comes to sit on Oblomov's wide sofa and calm his soul in conversation with him. There has not yet been a hero in Russian literature who does not get up from the sofa for eleven chapters. Only the arrival of Stolz raises him to his feet.

In the first chapters, the author introduces us to Oblomov's visitors, we see that our hero has many guests. Volkov ran in to show off a new tailcoat and a new love, he rejoiced in both, and it’s hard to say what more, he has scheduled visits all day, among the visits is a visit to Oblomov. Sudbinsky, a former colleague, comes to brag about a promotion (“ I'm having lunch at the Lieutenant Governor's”), an early profitable marriage. Penkin asks to go for a walk with him, because. he needs to write an article about the walk, “ together we will observe, whatever I noticed, you would tell me". Alekseev and Tarantiev - “ two the most diligent visitor to Oblomov"- went to him" drink, eat, smoke good cigars". It is no coincidence that the author describes Oblomov's guests in the second chapter, immediately after he introduced the reader to the main character and his servant. He compares the hero with his acquaintances, and it seems that the author's sympathies are on the side of Ilya Oblomov: he is better than the guests in his human qualities, he is generous, condescending, sincere. And the fact that he does not serve in a state institution, I.A. Goncharov explains that his hero does not need to earn his daily bread: “ he has Zakhar and another three hundred Zakharov”.

The author finds in his hero a lot of strange, repulsive things, but for some reason it is difficult to agree with the opinion of critics that Ilya Ilyich Oblomov is an “extra” person. How can someone who is loved by everyone around be “superfluous”? Olga Ilyinskaya, after the death of Oblomov, will plant a lilac on his grave as a sign that she remembers him. The inconsolable Agafya Matveevna often comes to his grave. His son Andrei and Stolz remember him. Why did they all love Oblomov? And was there anything to love him for? The author calls the hero's soul light. This epithet occurs again in the novel in the description of Oblomovka, where a bright river flowed. Maybe the bright river of childhood endowed his soul with warmth, radiance? What love the lines dedicated to childhood memories breathe. We see, " how the sky presses close to the earth, embracing it with love”, “rain is like tears of a suddenly overjoyed person”. In Oblomov himself, tears evoke memories of his mother. He is sensitive, kind, intelligent, but completely unadapted to life, he cannot manage the estate, he can be easily deceived. “Why am I like this?” The hero himself suffers. And finds the answer that everything is to blame " Oblomovism." With this word, Ilya Ilyich calls passivity, the inability to manage the peasants, the inability to calculate the income from the estate. A sofa and a bathrobe are also symbols “ Oblomovism". A. Stolz speaks very clearly about this: “ Started from inability to put on stockings, and ended in the inability to live. Why did he change so much, because in childhood he only waited for the hour when the whole village fell asleep in the afternoon nap, and he “ was as if alone in the whole world”, “he was looking forward to this moment, from which began his independent life". How does the hero himself explain the reluctance take an active part in life? “Life: good life! What is there to look for? All these are dead people, sleeping people, these members of the world and society are worse than me. What drives them in life? Here they do not lie, but scurry every day, like flies, back and forth, but what's the point? Don't they sleep sitting up all their lives? Why am I more guilty than them, lying at my place? What about our youth? Doesn't he sleep, walking, driving along the Nevsky, dancing?

A very interesting statement by M.M. Prishvin about Oblomov: "... his peace is fraught with a request for the highest value, for such an activity, because of which it would be worth losing peace."

Chatsky, Onegin, Pechorin, Oblomov are images of talented, bright, smart people, but their fate is tragic, and this brings them together. For some reason, at turning points in their lives, it is precisely such people that turn out to be unnecessary to society, it kind of “squeezes out” them, does not need their intelligence, talent, they have no place in society.

Modern life confirms what was once noticed by A. Griboedov, A. Pushkin, M. Lermontov, I. Goncharov. And it’s not their fault that the critics called the heroes invented by them “superfluous” people.

The study of the novel by I.A. Goncharov in the 10th grade is natural, because. at this time, the teenager faces the problem of choosing a life path.

Literature lesson summary in grade 10

Characteristics of the main character and the definition of methods for creating an image

(exposure analysis)

Lesson Objectives:

• Cognitive: make a characterization of the hero; follow the methods of creating an image; expressive means by which an image is created; highlight the elements of the plot on the example of the first chapter of the novel.

• Developing: compare the descriptions in the first chapter of the novel with the paintings of the Flemish artists of the early 17th century (development of figurative thinking).

• Educational: emphasize national features in the image of the main character, paying attention to their typicality and relevance.

Recall what the characterization of the hero includes (indirect and direct).

Extracts, their systematization.

- What can be noted in the first chapter?

- The craftsmanship of the author. Read the first sentence of the first chapter: In Gorokhovaya Street, in one of the large houses, the population of which would be the size of an entire county town, Ilya Ilyich Oblomov lay in bed in the morning in his apartment.

The first sentence contains seven pieces of information:

• Gorokhovaya street
• in one of the big houses
• a population that would be enough for an entire county town
• in the morning
• in bed
• in your apartment
• lay I.I. Oblomov

In the second sentence, the author indicates Oblomov's age: "a man of about thirty-two or three years old." Is it random or not? At thirty-three, Jesus began to serve people, sacrificed himself, “thirty years and three years” Ilya Muromets sat on the stove, but then he did so many good deeds and feats that he is still remembered. But what about Oblomov?

Hero portrait.

The author himself gives a description of the portrait of his hero, he does not trust anyone's eyes. The portrait uses a lot of expressive means. These are unexpected epithets: complexion indifferent, indefinite thoughtfulness, cold Human. These are personifications: with eyes, walking carelessly along the walls; off the face carelessness passed in postures of the whole body; neither fatigue nor boredom could not not for a minute drive away face softness. The author used metaphors for the portrait of his hero: cloud of care, began game of doubt. The transfer of natural phenomena to humans was also used: a view foggy.

What stands out in the description of the appearance? “How did Oblomov's home suit go to to his calm features of his face and to his pampered body! He was wearing a dressing gown, a real oriental dressing gown... which, like an obedient slave, submits to the slightest movement of the body... it was long, soft and wide; when, without looking, he lowered his legs from the bed to the floor, then surely hit them right away". Ilya Ilyich Oblomov loved space and freedom”.

Let's look at the interior. The question immediately arises: why did the same room serve as a bedroom, an office, and a reception room?

• Not to clean up.
• The hero practically does not move.
• We can take a good look at it.

What was in the room?

• Redwood Bureau.
• Two sofas, the back of one sofa settled down.
• Beautiful screens with embroidered birds and fruits unprecedented in nature.
• Silk curtains, carpets, a few paintings, bronzes, porcelain, and many beautiful little things.
• Ungraceful mahogany chairs, wobbly bookcases.

“The owner himself, however, looked at the decoration of his office so coldly and absent-mindedly, as if asking with his eyes: “Who brought all this here?”

One feature is striking in the interior: this is a very detailed description, there are a lot of details. Goncharov called himself a draftsman. V.G. Belinsky noted: "He is fond of his ability to draw." A.V. Druzhinin writes: “Like the Flemings, Goncharov is national, poetic in the smallest details, like them, he puts before our eyes the whole life of this era and this society.”

What is common between the descriptions of Goncharov and the still lifes of Dutch artists? – Drawn even the smallest details.
Why can you compare them? – Each piece is expertly crafted.

Confirmation of this can be found in the text of the first chapter - “ silk curtains”, drawing on the fabric “with embroidered birds and fruits unprecedented in nature”; "on the table ... a plate with a salt shaker and a gnawed bone and bread crumbs."

I.A. When describing, Goncharov uses many details, achieving the plausibility of the picture.

Hero's actions.

• He wants to get up, wash himself - he will have time after tea, tea can be drunk in bed, nothing prevents him from thinking while lying down.
• He got up and almost stood up, and even began to lower one leg from the bed, but immediately picked it up.
• A quarter of an hour has passed - well, it's full to lie down, it's time to get up.
• "I'll read the letter, then I'll get up."
• "It's already eleven o'clock and I haven't gotten up yet."
• He rolled onto his back.
• Call. He lies down, looking at the door with curiosity.

What is special about Oblomov's behavior?- Thought - extinction, desire - extinction.

Attitude to life.

If you think that Oblomov does not know how to radically change your life, then you are deeply mistaken. Here is his reasoning: Where to start? ... sketch out a detailed instructions to the attorney and send him to the village, lay down Oblomovka, buy land, send a development plan, rent an apartment, take a passport and go abroad for six months, sell off excess fat, lose weight, refresh the soul with the air that I once dreamed of with a friend, live without a dressing gown, without Zakhar, put on stockings and take off his boots, sleep only at night, go where everyone goes, then ... then settle in Oblomovka, know what sowing and threshing is, why a peasant is poor and rich, walk in the field , to go to the polls ... And so all my life! Farewell, poetic ideal of life! This is some kind of forge, not life; there is always a flame, crackling, heat, noise, ... when to live?”

What can be said about the attitude of the author to his hero? How is it revealed? Here he wakes up in the morning, and the mind has not yet come to the rescue”. “However, it is necessary to do justice to the care of Ilya Ilyich about his affairs. According to the first unpleasant letter from the headman, received several years ago, he already began to create in his mind a plan for various changes.". The author makes fun of his hero, using the technique of irony.

• Description (portrait, appearance, interior).
• Emphasis on details.
• Irony.
• Complementing one image with another (Zakhar looks like his master).
• Decay acceptance.
• Identification of typical features (Goncharov's hero immediately looks like both Manilov and someone very familiar from our life).

"...a cold beauty, keeps her temper." (p. 96)

“What should he do now? Go ahead or stay? This Oblomov's question was deeper for him than Hamlet's.(p.168)

“This is some kind of forge, not life; there is always a flame, crackling, heat, noise, ... when will it be"

• II Oblomov is a hero of his time, but of our time too. “As long as at least one Russian remains, Oblomov will be remembered until then” (V. G. Belinsky). What are your thoughts on this.
• Oblomov is “worth boundless love”, his creator himself is devoted to Oblomov, he is adored by all the characters in the novel (Stolz, Olga Ilyinskaya, Agafya Matveevna, Zakhar). For what?
• Read the second chapter. Compare Oblomov with his visitors.
• Read Oblomov's letter to Olga Ilinskaya (second part, chapter IX, pp. 221–223). What can be added to the characterization of Oblomov, judging by this letter?
• As you read, write down your favorite phrases.

Tenth-graders wrote out such phrases to I.A. Goncharova:

• “Cunning is like a small coin that can't buy much” (Page 231)
• “Where will you get enough for every moment of looking back?(Page 221)
• “Self-love is the salt of life”(Page 166)
• “Winter, how impregnable to live?” (Page 168)
• “I pulled a book out of the corner and in one hour I wanted to read, write, rethink everything that I had not read, written and rethought in ten years.”(Page 168)

Literature:

I.A. Goncharov. Selected works. - M .: Fiction, 1990 - 575 pages (Teacher's library).

The main character of the novel by I. A. Goncharov is Ilya Ilyich Oblomov - a kind, gentle, kind-hearted person who is able to experience a feeling of love and friendship, but unable to step over himself - get up from the couch, do some activity and even settle his own affairs. But if at the beginning of the novel Oblomov appears before us as a couch potato, then with each new page we penetrate more and more into the soul of the hero - bright and pure.
In the first chapter, we meet with insignificant people - acquaintances of Ilya Ilyich, those around 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 possess as conscience. With each line, the reader comes to know the wonderful soul of Oblomov, and this is precisely what Ilya Ilyich stands out from the crowd of worthless, prudent, heartless people, concerned only with his person: “The soul shone so openly and easily in his eyes, in a smile, in every movement of his head, his hands” .
Having excellent internal qualities, Oblomov is also educated and smart. He knows what 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 Ilyich, 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 drops his hands, and he gives up work, not seeing a goal for him, ”wrote Pisarev.
Goncharov does not introduce a single superfluous person into the novel - all the characters, with each step, reveal Oblomov more and more to us. The author introduces us to Stolz - at first glance, 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 livelihood, family status, rank, and, having achieved all this, he stops, the hero does not continue his development, he is content with what he already has. 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 Ilyich, but they do not live long in Oblomov: Olga Ilyinskaya and Ilya Ilyich Oblomov were too different. She is characterized by the harmony of mind and heart, will, which the hero is not able to understand and accept. Olga is full of vital energy, she strives for high art and evokes the same feelings in Ilya Ilyich, but he is so far from her way of life that he soon changes romantic walks to 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 do not know how to love at all and do not know what to look for in love, just like in life in general. “, - writes Dobrolyubov in his article “What is Oblomovism?”.
Ilya Ilyich decides to stay with Agafya Matveevna, for whom he also has feelings, but completely different than for Olga. For him, Agafya Matveevna was closer, “in her ever-moving elbows, in her carefully stopping eyes, in her eternal walking from the kitchen to the pantry.” Ilya Ilyich lives in a cozy, comfortable house, where life has always been in the first place, and the beloved woman would be a continuation of the hero himself. It would seem that the hero lives and lives happily ever after. No, such a life in Pshenitsyna's house was not normal, long, healthy, on the contrary, it accelerated Oblomov's transition from sleeping on the couch to eternal sleep - death.
Reading the novel, one involuntarily asks the question: why is everyone so drawn to Oblomov? It is obvious that each of the characters finds in him a piece of goodness, purity, revelation - all that people lack so much. Everyone, starting with Volkov and ending with Agafya Matveevna, searched for and, most importantly, found what was necessary for themselves, for their hearts and souls. But nowhere was Oblomov his own, there was no such person who would truly make the hero happy. And the problem lies not in the people around him, but in himself.
Goncharov in his novel showed different types 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, Pechorin.

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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 "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.

Goncharov I. A.

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

The main character of the novel by I. A. Goncharov is Ilya Ilyich Oblomov - a kind, gentle, kind-hearted person who is able to experience a feeling of love and friendship, but unable to step over himself - get up from the couch, do some activity and even settle his own affairs. But if at the beginning of the novel Oblomov appears before us as a couch potato, then with each new page we penetrate more and more into the soul of the hero - bright and pure.
In the first chapter, we meet with insignificant people - acquaintances of Ilya Ilyich, who surround him in St. Petersburg, busy with fruitless fuss, creating the appearance of action. In contact with these people, the essence of Oblomov is revealed more and more. We see that Ilya Ilyich has such an important quality that few people possess as conscience. With each line, the reader comes to know the wonderful soul of Oblomov, and this is precisely what Ilya Ilyich stands out from the crowd of worthless, prudent, heartless people, concerned only with his person: “The soul shone so openly and easily in his eyes, in a smile, in every movement of his head, his hands” .
Having excellent internal qualities, Oblomov is also educated and smart. He knows what 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 Ilyich, just like Onegin, Pechorin, does not see the meaning and purpose of such work, such a life. He doesn't want to work like that. “This unresolved question, this unsatisfied doubt exhausts the forces, destroys activity; a person drops his hands, and he gives up work, not seeing a goal for him, ”wrote Pisarev.
Goncharov does not introduce a single superfluous person into the novel - all the characters, with each step, reveal Oblomov more and more to us. The author introduces us to Stolz - at first glance, 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 livelihood, family status, rank, and, having achieved all this, he stops, the hero does not continue his development, he is content with what he already has. 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 Ilyich, but they do not live long in Oblomov: Olga Ilyinskaya and Ilya Ilyich Oblomov were too different. She is characterized by the harmony of mind and heart, will, which the hero is not able to understand and accept. Olga is full of vital energy, she strives for high art and evokes the same feelings in Ilya Ilyich, but he is so far from her way of life that he soon changes romantic walks to 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 Ilyich decides to stay with Agafya Matveevna, for whom he also has feelings, but completely different than for Olga. For him, Agafya Matveevna was closer, “in her ever-moving elbows, in her carefully stopping eyes, in her eternal walking from the kitchen to the pantry.” Ilya Ilyich lives in a cozy, comfortable house, where life has always been in the first place, and the beloved woman would be a continuation of the hero himself. It would seem that the hero lives and lives happily ever after. No, such a life in Pshenitsyna's house was not normal, long, healthy, on the contrary, it accelerated Oblomov's transition from sleeping on the couch to eternal sleep - death.
Reading the novel, one involuntarily asks the question: why is everyone so drawn to Oblomov? It is obvious that each of the heroes finds in him a piece of goodness, purity, revelation - all that people lack so much. Everyone, starting with Volkov and ending with Agafya Matveevna, searched for and, most importantly, found what was necessary for themselves, for their hearts and souls. But nowhere was Oblomov his own, there was no such person who would truly make the hero happy. And the problem lies not in the people around him, but in himself.
Goncharov in his novel showed different types 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, Pechorin.
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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 |