The image of Oblomov as a type of “superfluous man” in Russian literature of the 19th century. Essay “Oblomov and the “superfluous man” based on the novel by Goncharov Love of the “superfluous man”

"Oblomov" is a socio-psychological novel written in the 19th century. In the work, the author touches on a number of social and philosophical problems, including issues of human interaction with society. The main character of the novel, Ilya Ilyich Oblomov, is an “extra person” who does not know how to adapt to a new, rapidly changing world, to change himself and his views for the sake of a bright future. That is why one of the most acute conflicts in the work is the opposition to the passive, inert hero of an active society, in which Oblomov cannot find a worthy place for himself.

What does Oblomov have in common with “extra people”?

In Russian literature, this type of hero as an “extra person” appeared in the early 20s of the 19th century. This character was characterized by alienation from the usual noble environment and, in general, the entire official life of Russian society, since he felt boredom and his superiority (both intellectual and moral) over the others. The “superfluous person” is filled with mental fatigue, can talk a lot but do nothing, and is very skeptical.
Moreover, the hero is always the heir to a good fortune, which he, however, does not try to increase.

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

Ilya Ilyich does not associate himself with society, which Goncharov vividly depicted at the beginning of the work, when visitors come to Oblomov. Each guest for the hero is like a cardboard decoration with which he practically does not interact, putting a kind of barrier between others and himself, covering himself with a blanket. Oblomov does not want to go on visits like others, to communicate with hypocritical and uninteresting people who disappointed him even during his service - when he came to work, Ilya Ilyich hoped that everyone there would be the same friendly family as in Oblomovka, but he encountered with a situation where every person is “for himself.” Discomfort, the inability to find one’s social calling, the feeling of uselessness in the “neo-Oblomov” world leads to the hero’s escapism, immersion in illusions and memories of Oblomov’s wonderful past.

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

Love of the "extra person"

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

The “superfluous man” is not ready for fundamental, sensual love for a woman; for him, it is not so much the real beloved that is important, but a self-created, inaccessible image - we see this both in Onegin’s feelings for Tatyana that flared up years later, and in illusory, “spring” feelings Oblomov to Olga. The “superfluous person” needs a muse - beautiful, unusual and inspiring (for example, like Pechorin’s Bella). However, not finding such a woman, the hero goes to the other extreme - he finds a woman who would replace his mother and create the atmosphere of distant childhood.

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

Is Oblomov a superfluous person?

The “superfluous man” in Oblomov is perceived by other characters differently than similar heroes in previous works. Oblomov is a kind, simple, honest person who sincerely wants quiet, calm happiness. He is attractive not only to the reader, but also to the people around him - it’s not for nothing that his friendship with Stolz has not stopped since his school years and Zakhar continues to serve the master. Moreover, Olga and Agafya sincerely fell in love with Oblomov precisely for his spiritual beauty, dying under the pressure of apathy and inertia.

What is the reason that from the very appearance of the novel in print, critics defined Oblomov as a “superfluous person,” because the hero of realism, unlike the characters of romanticism, is a typified image that combines the features of an entire group of people? By portraying Oblomov in the novel, Goncharov wanted to show not just one “extra” person, but an entire social stratum of educated, wealthy, intelligent, sincere people who could not find themselves in the rapidly changing, new Russian society. The author emphasizes the tragedy of the situation when, unable to change with circumstances, such “Oblomovs” slowly die, continuing to hold tightly to long-gone, but still important and soul-warming memories of the past.

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

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

Goncharov I. A.

Essay on a work on the topic: Oblomov and the “extra person”

The main character of the novel by I. A. Goncharov is Ilya Ilyich Oblomov - a kind, gentle, kind-hearted person, capable of experiencing feelings of love and friendship, but unable to step over himself - get up from the couch, engage in any activity and even settle his own affairs. But if at the beginning of the novel Oblomov appears before us as a couch potato, then with each new page we penetrate more and more into the hero’s soul - bright and pure.
In the first chapter we meet insignificant people - acquaintances of Ilya Ilyich, surrounding him in St. Petersburg, busy with fruitless bustle, creating the appearance of action. In contact with these people, Oblomov’s essence is revealed more and more. We see that Ilya Ilyich has such an important quality that few people have, like conscience. With each line, the reader gets to know Oblomov’s wonderful soul, and this is precisely why Ilya Ilyich stands out from the crowd of worthless, calculating, heartless people, concerned only with their own person: “The soul shone so openly and easily in his eyes, in his smile, in every movement of his head and hands.” .
Having 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 does such an intelligent and educated person not want to work? The answer is simple: Ilya Ilyich, just like Onegin and Pechorin, does not see the meaning and purpose of such work, such life. He doesn't want to work like that. “This unresolved question, this unsatisfied doubt depletes strength, ruins activity; a person gives up and gives up work, not seeing a goal for it,” wrote Pisarev.
Goncharov does not introduce a single extra person into the novel - all the characters reveal Oblomov to us more and more with every step. The author introduces us to Stolz - at first glance, an ideal hero. He is hardworking, prudent, practical, punctual, he managed to make his way in life, made capital, earned respect and recognition in society. Why does he need all this? What good did his work bring? What is their purpose?
Stolz's task is to get settled in life, that is, to gain sufficient means of subsistence, family status, rank, and, having achieved all this, he stops, the hero does not continue his development, he is content with what he already has. Can such a person be called ideal? Oblomov cannot live for the sake of material well-being, he must constantly develop and improve his inner world, and in this one cannot reach the limit, because the soul knows no boundaries in its development. It is in this that Oblomov surpasses Stolz.
But the main storyline in the novel is the relationship between Oblomov and Olga Ilyinskaya. It is here that the hero reveals himself to us from the best side, his most cherished corners of his soul are revealed. Olga awakens the best qualities in the soul of Ilya Ilyich, but they do not live in Oblomov for long: Olga Ilyinskaya and Ilya Ilyich Oblomov were too different. She is characterized by harmony of mind and heart, will, which the hero is not able to understand and accept. Olga is full of vital energy, she strives for high art and awakens the same feelings in Ilya Ilyich, but he is so far from her way of life that he soon again exchanges romantic walks for a soft sofa and a warm robe. It would seem that what Oblomov is missing, why doesn’t he marry Olga, who accepted his proposal. But no. He doesn't act like everyone else. Oblomov decides to break off relations with Olga for her own good; he acts like many characters we know: Pechorin, Onegin, Rudin. They all leave their beloved women, not wanting to hurt them. “In relation to women, all Oblomovites behave in the same shameful manner. They don’t know how to love at all and don’t know what to look for in love, just like in life in general,” writes Dobrolyubov in his article “What is Oblomovism?”
Ilya Ilyich decides to stay with Agafya Matveevna, for whom he also has feelings, but completely different than for Olga. For him, Agafya Matveevna was closer, “in her ever-moving elbows, in her caring eyes stopping at everyone, in her eternal walk from the kitchen to the pantry.” Ilya Ilyich lives in a cozy, comfortable house, where everyday life always comes first, and the woman he loves is a continuation of the hero himself. It would seem that the hero would live happily ever after. No, such a life in Pshenitsyna’s house was not normal, long, healthy, on the contrary, it accelerated Oblomov’s transition from sleeping on the sofa to eternal sleep - death.
Reading the novel, you involuntarily ask the question: why is everyone so drawn to Oblomov? It is obvious that each of the heroes finds in him a piece of goodness, purity, revelation - everything that people so lack. Everyone, starting with Volkov and ending with Agafya Matveevna, searched and, most importantly, found what they needed for themselves, for their hearts, souls. But Oblomov did not belong anywhere, there was no such person who would truly make the hero happy. And the problem lies not in the people around him, but in himself.
Goncharov in his novel showed different types of people, all of them passed before Oblomov. The author showed us that Ilya Ilyich has no place in this life, just like Onegin and Pechorin.
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At the beginning of the 19th century, works appeared in Russian literature whose central problem was the conflict between the hero and society, the person and the environment that raised him. And, as a result, a new image is created - the image of an “extra” person, a stranger among his own, rejected by his environment. The heroes of these works are people of inquisitive minds, gifted, talented, who had the opportunity to become writers, artists, scientists, and who became, in Belinsky’s words, “smart useless people,” “suffering egoists,” “reluctant egoists.” The image of the “superfluous person” changed as society developed, acquiring new qualities, until, finally, it reached full expression in the novel by I.A. Goncharov "Oblomov".

In Goncharov’s novel we have the story of a man who does not have the makings of a determined fighter, but has all the potential to be a good, decent person. “Oblomov” is a kind of “book of results” of the interaction between the individual and society, moral beliefs and social conditions in which a person is placed. Goncharov’s novel traces a whole phenomenon of social life - Oblomovism, which collected the vices of one of the types of noble youth of the 50s of the 19th century. In his work, Goncharov “wanted to ensure that the random image that flashed before us was elevated to a type, giving it a generic and permanent meaning,” wrote N.A. Dobrolyubov. Oblomov is not a new face in Russian literature, “but before it was not presented to us as simply and naturally as in Goncharov’s novel.”

Ilya Ilyich Oblomov is a weak-willed, lethargic nature, divorced from real life. "Lying... was his normal state." Oblomov's life is a pink nirvana on a soft sofa: slippers and a robe are integral companions of Oblomov's existence. Living in a narrow world of his own creation, fenced off from the bustling real life by dusty curtains, the hero loved to make unrealistic plans. He never brought anything to completion; 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 the extreme and Dobrolyubov was right when he wrote that “... Oblomov is not a stupid, apathetic nature, without aspirations and feelings, but a person also looking for something in his life, about something thinking..." Goncharov's hero in his youth was a romantic, thirsting for an ideal, burning with the desire for activity, but "the flower of life blossomed and did not bear fruit." Oblomov became disillusioned with life, lost interest in knowledge, realized the futility of his existence and lay down on the sofa, believing that in this way he could preserve his moral integrity. So he “laid away” his life, “slept through” love and, as his friend Stolz said, “his troubles began with the inability to put on stockings and ended with the inability to live.” The originality of Oblomov’s image is that he “protested” on the sofa, believing that this is the best way of life, but not through the fault of society, but because of his own nature, his own inaction.

Based on the peculiarities of life in Russia in the 19th century, we can say that if “extra” people were found everywhere, regardless of the country and political system, then Oblomovism is a purely Russian phenomenon, generated by the Russian reality of that time. It is no coincidence that Dobrolyubov sees in Oblomov “our indigenous folk type.”

Many critics of that time, and even the author of the novel himself, saw the image of Oblomov as a “sign of the times,” arguing that the image of a “superfluous” person is typical only for feudal Russia of the 19th century. They saw the root of all evil in the country's state structure. But I cannot agree that the apathetic dreamer Oblomov is a product of the autocratic-serf system. Our time can serve as proof of this, where many find themselves out of place, do not find the meaning of life and, like Oblomov, kill the best years of their life lying on the sofa. So Oblomovism is a phenomenon not only of the 19th century, but also of the 21st century. Therefore, I believe that the tragedy of the “unnecessary” is not to blame for serfdom, in particular, but for that society in which true values are distorted, and vices often wear the mask of virtue, where an individual can be trampled by a gray, silent crowd.

In St. Petersburg, busy with fruitless bustle, creating the appearance of action. In contact with these people, Oblomov’s essence is revealed more and more. We see that Ilya Ilyich has such an important quality that few people have, like conscience. With each line, the reader gets to know Oblomov’s wonderful soul, and this is precisely why Ilya Ilyich stands out from the crowd of worthless, calculating, heartless people, concerned only with their own person: “The soul shone so openly and easily in his eyes, in his smile, in every movement of his head and hands.” .
Having 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 does such an intelligent and educated person not want to work? The answer is simple: Ilya Ilyich, just like Onegin, Pechorin, Rudin, does not see the meaning and purpose of such work, such life. He doesn't want to work like that. “This unresolved question, this unsatisfied doubt depletes strength, ruins activity; a person gives up and gives up work, not seeing a goal for it,” Pisarev wrote.
Goncharov does not introduce a single extra person into the novel - all the heroes reveal Oblomov to us more and more with every step. The author introduces us to Stolz - at first glance, an ideal hero. He is hardworking, prudent, practical, punctual, he managed to make his way in life, made capital, earned respect and recognition in society. Why does he need all this? What good did his work bring? What is their purpose?
Stolz’s task is to get settled in life, that is, to acquire sufficient means of subsistence, family status, rank, and, having achieved all this, he stops, the hero does not continue his development, he is content with what he already has. Can such a person be called ideal? Oblomov cannot live for the sake of material well-being, he must constantly develop and improve his inner world, and in this one cannot reach the limit, because the soul knows no boundaries in its development. It is in this that Oblomov surpasses Stolz.
But the main storyline in the novel is the relationship between Oblomov and Olga Ilyinskaya. It is here that the hero reveals himself to us from the best side, his most cherished corners of his soul are revealed. Olga awakens the best qualities in the soul of Ilya Ilyich, but they do not live in Oblomov for long: Olga Ilyinskaya and Ilya Ilyich Oblomov were too different. She is characterized by harmony of mind and heart, will, which the hero is not able to understand and accept. Olga is full of vital energy, she strives for lofty art and awakens the same feelings in Ilya Ilyich, but he is so far from her way of life that he soon again exchanges romantic walks for a soft sofa and a warm robe. It would seem that what Oblomov is missing, why doesn’t he marry Olga, who accepted his proposal. But no. He doesn't act like everyone else. Oblomov decides to break off relations with Olga for her own good; he acts like many characters we know: Pechorin, Onegin, Rudin. They all leave their beloved women, not wanting to hurt them. “In relation to women, all Oblomovites behave in the same shameful manner. They don’t know how to love at all and don’t know what to look for in love, just like in life in general...” writes Dobrolyubov in his article “What is Oblomovism?”
Ilya Ilyich decides to stay with Agafya Matveevna, for whom he also has feelings, but completely different than for Olga. For him, Agafya Matveevna was closer, “in her ever-moving elbows, in her caring eyes stopping at everyone, in her eternal walk from the kitchen to the pantry.” Ilya Ilyich lives in a cozy, comfortable house, where everyday life always comes first, and the woman he loves is a continuation of the hero himself. It would seem that the hero would live happily ever after. No, such a life in Pshenitsyna’s house was not normal, long, healthy, on the contrary, it accelerated Oblomov’s transition from sleeping on the sofa to eternal sleep - death.
Reading the novel, you involuntarily ask the question: why is everyone so drawn to Oblomov? It is obvious that each of the heroes finds in him a piece of goodness, purity, revelation - everything that people so lack. Everyone, starting with Volkov and ending with Agafya Matveevna, searched and, most importantly, found what they needed for themselves, for their hearts, souls. But Oblomov did not belong anywhere, there was no such person who would truly make the hero happy. And the problem lies not in the people around him, but in himself.
Goncharov in his novel showed different types of people, all of them passed before Oblomov. The author showed us that Ilya Ilyich has no place in this life, just like Onegin and Pechorin.

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The main character of the novel by I. A. Goncharov is Ilya Ilyich Oblomov - a kind, gentle, kind-hearted person, capable of experiencing feelings of love and friendship, but unable to step over himself - get up from the couch, engage in any activity and even settle his own affairs. But if at the beginning of the novel Oblomov appears before us as a couch potato, then with each new page we penetrate more and more into the hero’s soul - bright and pure.
In the first chapter we meet insignificant people - acquaintances of Ilya Ilyich, surrounding him in St. Petersburg, busy with fruitless bustle, creating the appearance of action. In contact with these people, Oblomov’s essence is revealed more and more. We see that Ilya Ilyich has such an important quality that few people have, like conscience. With each line, the reader gets to know Oblomov’s wonderful soul, and this is precisely why Ilya Ilyich stands out from the crowd of worthless, calculating, heartless people, concerned only with their own person: “The soul shone so openly and easily in his eyes, in his smile, in every movement of his head and hands.” .
Having 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 does such an intelligent and educated person not want to work? The answer is simple: Ilya Ilyich, just like Onegin, Pechorin, Rudin, does not see the meaning and purpose of such work, such life. He doesn't want to work like that. “This unresolved question, this unsatisfied doubt depletes strength, ruins activity; a person gives up and gives up work, not seeing a goal for it,” wrote Pisarev.
Goncharov does not introduce a single extra person into the novel - all the characters reveal Oblomov to us more and more with every step. The author introduces us to Stolz - at first glance, an ideal hero. He is hardworking, prudent, practical, punctual, he managed to make his way in life, made capital, earned respect and recognition in society. Why does he need all this? What good did his work bring? What is their purpose?
Stolz's task is to get settled in life, that is, to gain sufficient means of subsistence, family status, rank, and, having achieved all this, he stops, the hero does not continue his development, he is content with what he already has. Can such a person be called ideal? Oblomov cannot live for the sake of material well-being, he must constantly develop and improve his inner world, and in this one cannot reach the limit, because the soul knows no boundaries in its development. It is in this that Oblomov surpasses Stolz.
But the main storyline in the novel is the relationship between Oblomov and Olga Ilyinskaya. It is here that the hero reveals himself to us from the best side, his most cherished corners of his soul are revealed. Olga awakens the best qualities in the soul of Ilya Ilyich, but they do not live in Oblomov for long: Olga Ilyinskaya and Ilya Ilyich Oblomov were too different. She is characterized by harmony of mind and heart, will, which the hero is not able to understand and accept. Olga is full of vital energy, she strives for high art and awakens the same feelings in Ilya Ilyich, but he is so far from her way of life that he soon again exchanges romantic walks for a soft sofa and a warm robe. It would seem that what Oblomov is missing, why doesn’t he marry Olga, who accepted his proposal. But no. He doesn't act like everyone else. Oblomov decides to break off relations with Olga for her own good; he acts like many characters we know: Pechorin, Onegin, Rudin. They all leave their beloved women, not wanting to hurt them. “In relation to women, all Oblomovites behave in the same shameful manner. They don’t know how to love at all and don’t know what to look for in love, just like in life in general...” writes Dobrolyubov in his article “What is Oblomovism?”
Ilya Ilyich decides to stay with Agafya Matveevna, for whom he also has feelings, but completely different than for Olga. For him, Agafya Matveevna was closer, “in her ever-moving elbows, in her caring eyes stopping at everyone, in her eternal walk from the kitchen to the pantry.” Ilya Ilyich lives in a cozy, comfortable house, where everyday life always comes first, and the woman he loves is a continuation of the hero himself. It would seem that the hero would live happily ever after. No, such a life in Pshenitsyna’s house was not normal, long, healthy, on the contrary, it accelerated Oblomov’s transition from sleeping on the sofa to eternal sleep - death.
Reading the novel, you involuntarily ask the question: why is everyone so drawn to Oblomov? It is obvious that each of the heroes finds in him a piece of goodness, purity, revelation - everything that people so lack. Everyone, starting with Volkov and ending with Agafya Matveevna, searched and, most importantly, found what they needed for themselves, for their hearts, souls. But Oblomov did not belong anywhere, there was no such person who would truly make the hero happy. And the problem lies not in the people around him, but in himself.
Goncharov in his novel showed different types of people, all of them passed before Oblomov. The author showed us that Ilya Ilyich has no place in this life, just like Onegin and Pechorin.