Who owns the term "superfluous person" in literature? Research work "Superfluous person" in Russian literature

To some extent, this theme is the opposite of the image of the "little man": if there is a justification for the fate of everyone, then here - on the contrary, the categorical urge "one of us is superfluous", which can refer to the evaluation of the hero, and come from the hero himself , moreover, usually these two "directions" not only do not exclude each other, but also characterize one person: the denouncer of his neighbors turns out to be "superfluous".

The "superfluous person" is also a certain literary type. Literary types (types of heroes) are a collection of characters that are similar in their occupation, worldview and spiritual appearance. Distribution of one or another literary type can be dictated by the very need of society to depict people with some kind of stable complex of qualities. The interest and sympathy towards them on the part of critics, the success of books in which such people are portrayed, stimulate writers to "repeat" or "variations" of any literary type. Often a new literary type arouses the interest of critics, who give it its name (" noble robber"," Turgenev woman "," extra person "," small man"," nihilist "," tramp "," humiliated and insulted ").

The main thematic signs of "extra people". First of all, it is a person who is potentially capable of some kind of social action. She does not accept the "rules of the game" proposed by society; she does not believe in the possibility of changing anything. A "superfluous person" is a contradictory personality, often in conflict with society and its way of life. This is also a hero, of course, dysfunctional in relations with his parents, and unhappy in love. His position in society is unstable, contains contradictions: he is always at least in some way connected with the nobility, but - already in the period of decline, about fame and wealth - rather a memory. He is placed in an environment that is somehow alien to him: a higher or lower environment, there is always a certain motive of alienation, which does not always immediately lie on the surface. The hero is moderately educated, but this education is rather incomplete, unsystematic; in a word, he is not a deep thinker, not a scientist, but a person with the "capacity of judgment" to make quick but immature conclusions. The crisis of religiosity is very important, often the struggle with churchliness, but often internal emptiness, latent insecurity, the habit of using the name of God. Often - the gift of eloquence, writing skills, taking notes, or even writing poetry. There is always some pretense to be the judge of your fellow man; a tinge of hatred is required. In a word, the hero is a victim of the canons of life.

However, for all the seemingly apparent certainty and clarity of the above criteria for assessing the "extra person", the framework allowing one to speak with absolute certainty about the belonging of a particular character to this thematic line is very vague. It follows from this that the "extra person" cannot be "superfluous" as a whole, but he can be considered both in the mainstream of other topics and merge with other characters belonging to the rest of the literary types. The material of the works does not allow one to evaluate Onegin, Pechorin and others only from the point of view of their social "usefulness", and the type of "superfluous person" itself is rather the result of understanding the named heroes from certain social and ideological positions.

This literary type, as it developed, acquired more and more new features and forms of display. This phenomenon is quite natural, since every writer saw a "superfluous person" as he was in his mind. All masters artistic word, who ever touched upon the topic of "superfluous person", not only added to this type a certain "breath" of their era, but also tried to unite all contemporary social phenomena, and most importantly the structure of life, in one image - the image of the hero of the time. All this makes the type of "superfluous person" universal in its own way. This is precisely what allows us to consider the images of Chatsky and Bazarov as heroes who had a direct impact on this type. These images, no doubt, do not belong to the type of "superfluous person", but at the same time they perform one important function: the Griboyedov hero in his confrontation with the Famus society makes it impossible to peacefully resolve the conflict between an outstanding personality and an inert way of life, thereby pushing other writers to illuminate this problem, and the image of Bazarov, completing (from my point of view) the type of "superfluous person", was no longer so much a "carrier" of time as its "side" phenomenon.

But before the hero himself could qualify himself as a "superfluous person", a more hidden appearance of this type had to take place. The first signs of this type were embodied in the image of Chatsky, the main character immortal comedy A.S. Griboyedov "Woe from Wit". "Griboyedov is" a man of one book, "VF Khodasevich once remarked." If it were not for Woe from Wit, Griboyedov would not have had any place at all in Russian literature. " And, indeed, although in the history of drama, Griboyedov is spoken of as the author of several, in his own way, wonderful and funny comedies and vaudeville, written in collaboration with the leading playwrights of those years (N.I. Khmelnitsky, A.A. Shakhovsky, P.A. Vyazemsky), but it was Woe from Wit that turned out to be the only work of its kind. This comedy for the first time broadly and freely depicted modern life and thus opened a new, realistic era in Russian literature. Creative story this piece is extremely difficult. Her design apparently dates back to 1818. It was completed in the fall of 1824; the censorship did not allow this comedy to be published or staged on stage. The conservatives accused Griboyedov of exaggerating satirical colors, which, in their opinion, was a consequence of the author's "scolding patriotism", and in Chatsky they saw a clever "madman", the embodiment of the "figaro-Griboyedov" philosophy of life.

The above examples critical interpretations plays only confirm all the complexity and depth of its social and philosophical issues, indicated in the very title of the comedy: "Woe from Wit". The problems of mind and stupidity, insanity and insanity, tomfoolery and buffoonery, pretense and hypocrisy were posed and solved by Griboyedov on the basis of diverse everyday, social and psychological material. Essentially, all characters, including minor, episodic and non-stage ones, are embroiled in discussions about attitudes towards the mind and various forms of stupidity and insanity. The clever "madman" Chatsky became the main figure around whom all the variety of opinions about comedy was immediately concentrated. The general assessment of the author's intention, problematics and artistic features of comedy depended on the interpretation of his character and behavior, relationships with other characters. The main feature of the comedy is the interaction of two plot-forming conflicts: a love conflict, the main participants of which are Chatsky and Sophia, and a socio-ideological conflict, in which Chatsky collides with the conservatives gathered in Famusov's house. I want to note that for the hero himself, it is not socio-ideological, but love conflict... After all, Chatsky arrived in Moscow with sole purpose- to see Sophia, to find confirmation of the old love and, possibly, to get married. It is interesting to trace how the hero's love experiences exacerbate Chatsky's ideological opposition to Famus society. initially the main character he does not even notice the usual vices of the environment where he ended up, but sees only comic sides in it: "I am in eccentrics to another miracle / Once I laugh, then I will forget ...".

But Chatsky is not a "superfluous person". He is only the forerunner of "superfluous people". This is confirmed, first of all, by the optimistic sound of the comedy finale, where Chatsky remains with the right of historical choice given to him by the author. Consequently, Griboyedov's hero can find (in the future) his place in life. Chatsky could have been among those who came out on December 14, 1825 to Senate Square, and then his life would have been a foregone conclusion 30 years ahead: those who took part in the uprising returned from exile only after the death of Nicholas I in 1856. But something else could have happened. An irresistible aversion to the "abominations" of Russian life would make Chatsky an eternal wanderer in a foreign land, a man without a homeland. And then - melancholy, despair, alienation, acrimony and, what is most terrible for such a hero-fighter, forced idleness and inactivity. But this is just the guesses of the readers.

Chatsky, rejected by society, has the potential to find a use for himself. Onegin will no longer have such an opportunity. He is a "superfluous person" who has not been able to realize himself, who "dullly suffers from a striking resemblance to children. this century". But before answering why, let us turn to the work itself. The novel" Eugene Onegin "is a work of amazing creative destiny... It was created for more than seven years - from May 1823 to September 1830. The novel was not written "in one breath", but was formed from stanzas and chapters created in different time, in different circumstances, in different periods creativity. The work was interrupted not only by the twists and turns of Pushkin's fate (exile to Mikhailovskoe, the Decembrist uprising), but also new ideas, for the sake of which he more than once dropped the text of Eugene Onegin. It seemed that history itself was not very supportive of Pushkin's work: from a novel about a contemporary and modern life, as Pushkin conceived "Eugene Onegin", after 1825 it became a novel about a completely different historical era... And, if we take into account the fragmentation and discontinuity of Pushkin's work, then we can say the following: for the writer, the novel was something like a huge "notebook" or a poetic "album". For more than seven years, these records were replenished with sad "notes" of the heart, "observations" of a cold mind. extra person image literature

But "Eugene Onegin" is not only "a poetic album of living impressions of a talent playing with his wealth", but also a "novel of life", which has absorbed a huge amount of historical, literary, social and everyday material. This is the first innovation of this work. Secondly, it was fundamentally innovative that Pushkin, relying largely on the work of A.S. Griboyedov "Woe from Wit", found new type problem hero - "hero of the time". Eugene Onegin became such a hero. His fate, character, relationships with people are determined by the totality of the circumstances of modern reality, outstanding personal qualities and the range of "eternal", universal problems that he faces. It is necessary to immediately make a reservation: Pushkin, in the process of working on the novel, set himself the task of demonstrating in the image of Onegin "that premature old age of the soul, which became the main feature young generation". And already in the first chapter, the writer notes social factors that determined the character of the protagonist. The only thing in which Onegin "was a true genius", that "he knew more firmly than all sciences", as the Author notes, not without irony, was "the science of tender passion", that is, the ability to love without loving, to imitate feelings, while remaining cold and calculating. However, Pushkin is interested in Onegin not as a representative of a widespread social and everyday type, the whole essence of which is exhausted positive characteristics by the secular rumor: "N.N. wonderful person"It was important for the writer to show this image in movement, development, so that later each reader would draw the proper conclusions, would give a fair assessment of this hero.

First chapter - crucial moment in the fate of the protagonist, who managed to abandon the stereotypes of secular behavior, from the noisy, but internally empty "rite of life". Thus, Pushkin showed how from a faceless crowd, but demanding unconditional submission, a bright, outstanding personality suddenly appeared, capable of overthrowing the "burden" of secular conventions, "lagging behind the vanity."

It is typical for writers who have devoted their work to the theme of the "superfluous person" to "test" their hero with friendship, love, duel, and death. Pushkin was no exception. Two tests that awaited Onegin in the village - a test of love and a test of friendship - showed that external freedom does not automatically entail liberation from false prejudices and opinions. In relations with Tatiana Onegin, he showed himself as a noble and mentally delicate person. And you can't blame the hero for not responding to Tatyana's love: as you know, you can't command your heart. Another thing is that Onegin listened not to the voice of his heart, but to the voice of reason. In support of this, I will say that even in the first chapter, Pushkin noted in the protagonist "a sharp, chilled mind" and an inability to feel strong. And it was this mental imbalance that became the reason for the failed love of Onegin and Tatiana. Onegin also did not stand the test of friendship. And in this case, the cause of the tragedy was his inability to live a life of feeling. It is not for nothing that the author, commenting on the state of the hero before the duel, notes: "He could discover feelings, / And not bristle like a beast." Both at Tatyana's birthday and before the duel with Lensky, Onegin showed himself to be a "ball of prejudice," "a hostage of secular canons," deaf to both the voice of his own heart and to Lensky's feelings. His behavior on name days is the usual "secular anger", and the duel is a consequence of indifference and fear of the evil-speaking of the inveterate breeder Zaretsky and the landlord neighbors. Onegin himself did not notice how he became a prisoner of his old idol - "public opinion". After the murder of Lensky, Yevgeny changed dramatically. It is a pity that only tragedy was able to open to him a previously inaccessible world of feelings.

Thus, Eugene Onegin becomes a "superfluous person". Belonging to the light, he despises it. He, as noted by Pisarev, only has to "give up on the boredom of secular life, as an inevitable evil." Onegin does not find his true purpose and place in life, he is burdened by his loneliness, lack of demand. In the words of Herzen, "Onegin ... is an extra person in the environment where he is, but, not possessing the necessary strength of character, he cannot escape from it." But, according to the writer himself, the image of Onegin is not complete. After all, the novel in verse essentially ends with the following question: "What will Onegin be in the future?" Pushkin himself leaves the character of his hero open, thus emphasizing Onegin's very ability to abruptly change values ​​and, I note, a certain willingness to act, to act. True, Onegin has practically no opportunities for self-realization. But the novel does not answer the above question, it asks the reader.

So, the theme of the "superfluous person" comes to its end in a completely different capacity, having passed a difficult evolutionary path: from romantic pathos rejection of life and society to the point of acute rejection of the "superfluous person" himself. And the fact that this term can be applied to the heroes of the works of the 20th century does not change anything: the meaning of the term will be different and it will be possible to call it "superfluous" on completely different grounds. There will be returns to this theme (for example, the image of the "superfluous person" Levushka Odoevtsev from A. Bitov's novel "Pushkin House"), and suggestions that there are no "superfluous" ones, but there are only various variations of this theme. But the return is no longer a discovery: the 19th century discovered and exhausted the topic of the "superfluous person".

Bibliography:

• 1. Babaev E.G. The works of A.S. Pushkin. - M., 1988
• 2. Batuto A.I. Turgenev is a novelist. - L., 1972
• 3. Ilyin E.N. Russian literature: recommendations for schoolchildren and applicants, "SCHOOL-PRESS". M., 1994
• 4. Krasovsky V.E. History of Russian Literature of the 19th Century, "OLMA-PRESS". M., 2001
• 5. Literature. Reference materials... Book for students. M., 1990
• 6. Makogonenko G.P. Lermontov and Pushkin. M., 1987
• 7. Monakhova O.P. Russian literature of the XIX century, "OLMA-PRESS". M., 1999
• 8. Fomichev S.A. Griboyedov's comedy "Woe from Wit": Commentary. - M., 1983
• 9. Shamrey L.V., Rusova N.Yu. From allegory to iambic. Terminological dictionary-thesaurus on literary criticism. - N. Novgorod, 1993

"Superfluous person" is socio-psychological type, captured in Russian literature of the first half of the 19th century; its main features: alienation from official Russia, from the native environment (usually noble), a sense of intellectual and moral superiority over it and at the same time - mental fatigue, deep skepticism, discord between words and deeds. The name "Superfluous person" came into general use after the "Diary of an extra person" (1850) by I.S. Turgenev, the type itself was formed earlier: the first vivid incarnation - Onegin ("Eugene Onegin", 1823-31, A.S. Pushkin ), then Pechorin ("A Hero of Our Time", 1839-40, M.Yu. Lermontov), ​​Beltov ("Who is to blame?", 1845 A.I. Herzen), Turgenev characters - Rudin ("Rudin", 1856), Lavretsky (" Noble Nest", 1859), etc. The features of the spiritual appearance of the" superfluous person "(sometimes in a complicated and altered form) can be traced in the literature of the second half of the 19th - early 20th centuries. V Western European literature The “superfluous man” is to a certain extent close to the hero, disenchanted with social progress (“Adolphe”, 1816, B. Constant; “son of the century”, 1836, A. de Musset). However, in Russia, the contradictions of the social situation, the contrast between civilization and slavery, the oppression of reaction pushed the "Superfluous Man" to a more prominent place, caused an increased drama and intensity of his experiences.

At the turn of the 1850s-60s, criticism (N.A. Dobrolyubov), leading an offensive against the liberal intelligentsia, sharpened weak sides"Superfluous person" - half-heartedness, inability to actively intervene in life, however, at the same time, the topic of "Superfluous person" was illegally reduced to the topic of liberalism, and historical background- to the lordship and "Oblomovism". The ratio of the typology of the "Superfluous person" as a cultural problem with artistic text, in which - in the most difficult cases - the stability of the psychological complex of character turned out to be problematic: for example, mental fatigue and indifference of Onegin was replaced in the final chapter Pushkin's novel youthful passion and dedication. In a general, broader context literary movement type "Superfluous person", arising as a rethinking romantic hero, developed under the sign of a more versatile and mobile characterology. The rejection of educational, moralizing attitudes in the name of the most complete and impartial analysis, reflection of the dialectic of life was also essential in the theme of "The Superfluous Man". It was also important to affirm the value of an individual, personality, interest in the “history of the human soul” (Lermontov), ​​which paved the way for a fruitful psychological analysis and prepared the future conquests of Russian realism and post-realistic artistic movements.

The image of a bored hero in the works of the 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.
Often it is associated with the image of a "superfluous person"

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

Apart from Onegin, many critics XIX century and
some literary scholars of the XXth century classify Pechorin as the type of "superfluous person"
novels by I.S. Turgenev Rudin and Lavretsky, as well as Oblomov I.A. Goncharov.

What are the main thematic
signs of these characters, "extra people"? This is primarily a person
potentially capable of any social action. She does not accept the proposed
society "the rules of the game" is characterized by disbelief in the ability to change anything.
"Superfluous person" is a contradictory personality, often in conflict with society and
his way of life. He is also a hero, definitely dysfunctional in
relationship with parents, and unhappy in love. His position in society
unstable, contains contradictions: he is always at least some side connected with
nobility, but - already in the period of decline, about fame and wealth - rather a memory. He
placed in an environment that is somehow alien to him: a higher or lower environment,
there is always some motive of alienation, which does not always lie immediately on
surface. 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 insecurity. Often - the gift of eloquence,
skills in writing, taking notes, or even writing poetry. Always some
the pretense to be a judge of one's neighbors; a tinge 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 for more than 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,
which conditioned the character of the protagonist. This is belonging to the highest class
nobility, the usual upbringing, education, the first steps in the world for this circle,
experience of "monotonous and variegated" life for eight years. The life of the "free"
a nobleman not burdened with service - vain, carefree, full of entertainment
and love stories, - fits into one tiring long day ..

In a word, Onegin in his early youth is "a child of fun and luxury." By the way, on this
life segment Onegin is a person in his own way, original, witty, “a scientist
small ", but still quite ordinary, dutifully following the secular" decorous
the crowd. " The only thing in which Onegin "was a true genius", that "he knew more firmly
of all sciences ", as the Author notes with some irony, was" the science of tender passion ", then
have the ability to love without loving, imitate feelings, staying cold and
calculating.

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

Onegin's seclusion is his
an undeclared conflict with the world and with the society of village landowners - only
at first glance it seems like a "quirk" caused by purely individual
reasons: boredom, "Russian blues". it new stage the hero's life. Pushkin
emphasizes that this conflict of Onegin, “Onegin's inimitable
strangeness "became a kind of spokesman for the protagonist's protest against
social and spiritual dogmas that suppress a person's personality, deprive him of his right
To be youreself. And the emptiness of the hero's soul was the result of emptiness and
the emptyness of high 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 inner drama of this process is also obvious: Onegin is painfully freed
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 Petersburg and in the countryside, he is equally bored - he just can't
overcome mental laziness and dependence on "public opinion" in oneself.
The consequence of this was that the best inclinations of his nature were killed by the secular
life. But the hero cannot be considered only a victim of society and circumstances. By replacing
way of life, he took responsibility for his destiny. But giving up idleness
and the vanity of light, alas, did not become a doer, but remained only a contemplator.
The feverish pursuit of pleasure gave way to solitary contemplation
Main character.

For writers who have given their
creativity, attention to the topic of "superfluous person", it is characteristic to "test" your
hero friendship, love, duel, death. Pushkin was no exception. Two
the trials that awaited Onegin in the village -
the test of love and the test of friendship - showed that external freedom is automatically
does not entail liberation from false prejudices and opinions. In relationship
with Tatiana Onegin showed himself as a noble and mentally delicate person. AND
you cannot blame the hero for not responding to Tatyana's love: heart, how
you know, you will not order. Another thing is that Onegin did not listen to his own voice.
hearts, but 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 the inability to
strong feelings. And it was this mental imbalance that became the reason for the failed
love of Onegin and Tatiana. Onegin also did not stand the test of friendship. And in this
In this case, the cause of the tragedy was his inability to live a life of feeling. No wonder
the author, commenting on the state of the hero before the duel, notes: “He could
discover, / And not bristle like a beast. " And on Tatyana's name days, and before
duel with Lensky Onegin proved himself to be a "ball of prejudice", "a hostage
secular canons ", deaf to the voice of their own heart, and to feelings
Lensky. His behavior on name days is the usual "social anger", and the duel is
a consequence of the indifference and fear of the evil-speaking of the inveterate brute Zaretsky and
neighbors landlords. Onegin himself did not notice how he became a prisoner of his old
idol - "public opinion". After the murder of Lensky, Evgeny changed
just dramatically. It's 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 wanderings give him
the opportunity to take a fuller look at life, reassess yourself, understand how
fruitlessly and much wasted time and energy in empty pleasures.

In the eighth chapter, Pushkin showed a new
stage in spiritual development Onegin. Having met Tatiana in St. Petersburg, Onegin
completely transformed, nothing remained of the old, cold and
a rational person - he is an ardent lover, noticing nothing, except
the object of his love (and this is very similar to Lensky). He first experienced
a real feeling, but it turned into a new love drama: now Tatyana
could not answer it 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 heeding strict penalties." However, the text completely lacks the results of the spiritual
development of a hero who believed in love and happiness. It means that Onegin again did not reach
the 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 how
Pisarev noted, the only thing that remains is that “to give up on the boredom of high life,
as an inevitable evil. " Onegin does not find his true purpose and place in
life, he is burdened by his loneliness, lack of demand. In words
Herzen, “Onegin ... an extra person in the environment where he is, but not possessing
with the necessary strength of character, cannot escape from it in any way. " But, in the opinion of himself
writer, the image of Onegin is not complete. After all, a novel in verse is essentially
ends with the following statement of the question: "What will Onegin be in the future?" Myself
Pushkin leaves the character of his hero open, thus emphasizing the very
Onegin's ability to abruptly change values ​​and, I note,
a certain readiness for action, for action. True, opportunities for
Onegin has practically no self-realization. But the novel does not answer
the above question, he asks the reader.

After Pushkin's hero and Pechorin, actor novel
M.Yu. Lermontov "A Hero of Our Time", was a type of "superfluous person".
The bored hero again appears before the reader, but he is different from Onegin.

Onegin has indifference, passivity,
inaction. Not Pechorin. “This person is not indifferent, does not apathetically bear
suffering: he is frantically chasing 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 evaluate
myself. "A moral cripple," he says
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 this is so.

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
interfere with life " honest smugglers”And made them run, leaving the house, and
along with the blind boy.

In "Princess Mary" Pechorin intervenes in the ensuing
a novel by Grushnitsky and Mary, a whirlwind bursts into the settled life of Vera. His
hard, he is empty, he is bored. He writes about his longing and attraction
"Possession of the soul" of another person, but never once thinks about where it came from
his right to this possession! Reflections of Pechorin in "Fatalist" about faith and
disbelief refers not only to the tragedy of loneliness modern man v
the world. Man, having lost God, has lost the main thing - moral guidelines, firm and
a certain system of moral values. And no experiments will give
Pechorin the joy of being. Confidence can only be given by faith. And 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, realizing all this, at the same
time does not see the origins of its tragedy. He reflects as follows: “Evil
generates 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
bondage: tortured to take pleasure in the suffering of another. AND
the unfortunate, suffering, dreams of one thing - to take revenge on the offender. Evil breeds evil
not in 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 two halves of the soul, that the best part souls
"Dried up, evaporated, died." He "became a moral cripple" - here
the true tragedy and punishment of Pechorin.

Pechorin is a contradictory personality,
yes, he himself understands this: “… I have an innate passion to contradict; my whole
life was only a chain of sad and unsuccessful contradictions to the heart or reason. "
Contradiction becomes a formula for the hero's existence: he is aware of himself
"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 her past Mary's windows ... The rest of the day
comprehend the "impression" that he made. And it takes days, months, life!

Pechorin, unfortunately, remained so
until the end of life "clever 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 no business.
Pechorin thirsts for activity. But opportunities to apply these soulful
aspirations in practice, to realize them, he does not have. An exhausting feeling of emptiness
boredom, loneliness pushes him on 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 of gloomy and soon forgotten, / Above the world we will pass without noise and
a trace, / Without abandoning a fertile thought for centuries, / Not the genius of the work begun ... ".
"Gloomy" ... This is a crowd of disunited loners, not bound by the unity of goals,
ideals, hopes ...

I did not ignore the topic of “unnecessary
people "and I.A. Goncharov, creating one of the outstanding novels XIX century, - Oblomov. His central character, Ilya
Ilyich Oblomov - a bored gentleman, lying on the couch, dreaming of transformations
and happy life with family, but doing nothing to make dreams come true
reality. Undoubtedly, Oblomov is a product of his environment, a kind
the result of the social and moral development of the nobility. For the noble intelligentsia
the time of existence at the expense of serfs has not passed without a trace. All this
gave rise to laziness, apathy, an absolute inability to vigorous activity and
typically 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 hero's "dream" is not quite like a dream. it
a rather harmonious, logical picture of Oblomovka's life with an abundance of details.
Most likely, this is not a dream itself, with its characteristic illogicality, but
conditional sleep. The task of "Sleep", as V.I.Kuleshov noted, is to give "preliminary
history, important message about the hero's life, his childhood ... The reader receives important
information, thanks to which upbringing the hero of the novel became a lazy person ... receives
an opportunity to realize where and in what exactly this life "broke off". What is
Oblomov's childhood? This is a cloudless life in the estate, "the fullness of satisfied
desires, contemplation of pleasure. "

Is it much different from the one
led by Oblomov in a house on Gorokhovaya Street? Although Ilya is ready to contribute to this
some changes to the idyll, its foundations will remain unchanged. Him completely
the life that Stolz leads is alien: “No! What to make artisans out of nobles! " He
has absolutely no doubt that the peasant should 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
landlord-entrepreneur, find his own path, as did Stolz.All this makes Oblomov a “superfluous person”.

The term "extra person" is familiar, perhaps, to everyone. But where did he come from in Russian literature? And what is behind this definition, on what basis of this or that literary hero can be classified as "superfluous" people?

It is believed that the concept of "extra person" was first used by I.S. Turgenev, who wrote "The Diary of an Extra Man." However, A.S. Pushkin in draft Chapter VIII"Eugene Onegin" wrote about his hero: "Onegin is worth something superfluous." In my opinion, "an extra person" is an image that is typical for the work of many Russian writers and poets XIX century. Each of them rethought it in accordance with the spirit of their time. At the same time, the "extra person" was not a product of creative imagination - his presence in Russian literature testified to a spiritual crisis in certain strata of Russian society.

Any high school student, when answering the question of which of the heroes of Russian literature fits the definition of "superfluous person", will not hesitate to name Eugene Onegin and Grigory Pechorin. Undoubtedly, both of these characters are the brightest representatives camps of "extra" people. Looking at them more closely, we will be able to answer the question: who is he - an extra person?

So, Eugene Onegin. A.S. Pushkin already in the first chapter of his novel draws a complete image of a secular young man... He is no better and no worse than others: educated, savvy in matters of fashion and pleasant manners, he has a secular gloss. Idleness and petty vanity, empty talk and balls - this is what filled his monotonous, externally brilliant, but devoid of inner content life.

Very soon he begins to understand that his life is empty, that there is nothing behind the "external tinsel", and slander and envy reign in the world. Onegin is trying to find an application for his abilities, but the absence of the need for work leads to the fact that he does not find something to his liking. The hero moves away from the light, leaves for the village, but here the same blues overtakes him. Love sincere, not spoiled by the light of Tatyana Larina does not cause any mental movements... Out of boredom, Onegin takes care of Olga, which makes his accidental friend Lensky jealous. Everything, as you know, ends tragically.

V.G. Belinsky wrote about Eugene Onegin: "The forces of this rich nature were left without application: life without meaning, and a novel without end." These words can equally be attributed to the main figure of the novel by M.Yu. Lermontov's "A Hero of Our Time" - to Grigory Pechorin. It is no coincidence that critics call him “ younger brother Onegin ".

Grigory Alexandrovich Pechorin, like Onegin, belongs to the noble circle. He is rich, has success with women and, it would seem, should be happy. However, Pechorin is constantly worried keen feeling dissatisfaction with himself and others, every business very soon becomes boring for him, even love tires him. Being in the rank of ensign, he does not strive for more, which indicates his lack of ambition, as well as his attitude to the service.

Onegin and Pechorin are separated by only ten years, but what! .. Pushkin began writing his novel before the Decembrist uprising, and finished at a time when society had not yet fully comprehended the lessons of this event. Lermontov "sculpted" his Pechorin during the years of the most severe reaction. Perhaps it is for this reason that what is only outlined in Onegin's character is fully developed in Pechorin. So, if Onegin does not even realize that he brings misfortune to the people around him, then Pechorin understands perfectly well that people do not have good from his actions. He is the culprit of Grushnitsky's death, because of him the Circassian woman Bela dies. He provokes (albeit unwittingly) the death of Vulich, because of him Princess Mary Ligovskaya is disappointed in the life and love.: ..

Both Onegin and Pechorin are inherently egoists; they are consumed by a common disease - "Russian blues". Both of them are distinguished by “an embittered mind seething in empty action” and a soul corrupted by light. Onegin and Pechorin despised the society in which they were forced to live, and therefore loneliness became their lot.

Thus, a “superfluous person” is a hero rejected by society or rejected it himself. It seems to him that society limits his freedom, and he cannot stand dependence, and therefore tries to enter into conflict with him. The result is known: the "extra person" remains lonely. At the same time, he realizes that the reasons for his lack of freedom lie in himself, in his soul, and this makes him even more unhappy.

The traits of a superfluous person can be found in other heroes of Pushkin and Lermontov. Such is, for example, Dubrovsky: having suffered an insult, he flares up with a thirst for revenge, however, having taken revenge on the offender, he does not feel happy. In my opinion, Lermontov's Demon also corresponds to the image of the “superfluous person”, although in relation to the “spirit of exile” this sounds, perhaps, somewhat paradoxical.

The demon is bored with evil, but he cannot do good. And his love dies along with Tamara:

And again he remained, arrogant,

One, as before in the universe.

The main features of the "superfluous person" were developed in the characters of the heroes of Turgenev, Herzen, Goncharov. I think that even today these images are interesting to us as characters that have not disappeared from reality to this day. For example, Zilov from the play "Duck Hunt" by Alexander Vampilov seems to me to be a "superfluous person". In my opinion, sometimes it doesn't hurt to compare oneself with such people - it helps to correct one's own character (get rid of selfishness) and, in general, to better understand life.

Municipal educational institution

Kazachinskaya secondary school "

Literature Abstract

"The type of" extra person "

Ivanova Daria

Checked the work:,

with. Kazachinskoe

1. Introduction.

2. Evolution of the image of "superfluous person" in Russian literature XIX century.

2.1. Spiritual drama of a young St. Petersburg resident Eugene Onegin.

2.2. The tragedy of the "hero of our time" - Pechorin.

2.3. Rudin's wandering fate.

3. List of used literature

In Russian literature early XIX century, the concept of "type of superfluous person" appeared. A “superfluous person” is a person of significant abilities, moderately educated, but does not have a definite good complete education. He is unable to realize his talents for public service... Belonging to the upper classes of society, they mostly spend their time in idle entertainment. This lifestyle fails to ease his boredom, leading to dueling, gambling, and other self-destructive behavior. The emergence of such a literary type was associated with the rebellious situation in the country, since the 19th century is the time of the establishment of capitalism in Russia:

The nineteenth century - a rebellious, strict century -

He goes and says: “Poor man!

What are you thinking about? take a pen, write:

There is no creator in creations, there is no soul in nature ... ()

The topic of “an extra person” is still relevant today, since, firstly, it cannot be called fully studied. Literary critics have not yet come to a consensus about the typical qualities inherent in the "extra person". Each writer endowed his hero with special qualities characteristic of his time.

It is not known exactly by whom and when the image of the "superfluous person" was created. Some believe that he created it. Others consider the author of the concept. In the draft version of Chapter VIII of Eugene Onegin, he himself calls his hero “superfluous”: “Onegin is worth something extra”. But there is also a version that the type of "superfluous person" introduced into Russian literature. Secondly, even today you can meet people who do not fit into the general way of life of society, who recognize other values.

The purpose of this work is to show the evolution of the type of "superfluous person" using the example of works from the school curriculum: "Eugene Onegin" and "A Hero of Our Time". The novel "Rudin" was studied independently.

The history of the creation of "Eugene Onegin" is amazing. worked on it for over eight years. The novel consisted of stanzas and chapters written at different times. Belinsky said about him that this is “the most intimate work of Pushkin, the most beloved child of his fantasy. Here is all his life, all his soul, all his love; here are his feelings, concepts, ideals. "

Eugene Onegin - the main character of the work, a young man, fashionable, perfectly fitting into the social life of St. Petersburg, studied "something and somehow". He is not accustomed to serious, consistent work. His appearance in the world happened early enough, so he was tired of high society. Eugene masterfully portrayed feelings in order to succeed in a secular society. But, having become a virtuoso in this game, having reached the limit, he involuntarily married him and was disappointed. This happened because adaptation to almost any system of relations is accompanied by a certain reaction: "In short: the Russian blues / He took possession of him little by little."

Onegin's conflict became a kind of expression of protest against the laws of society, which suppress a person's personality, which deprive him of the right to be himself. Vapidness secular society made the soul of the protagonist empty:

No: early feelings in him cooled down;

He was bored with the noise of the light;

The beauties were not long

The subject of his usual thoughts;

Managed to tire betrayal;

Friends and friendship are tired ...

He tries to find a business to his liking, but the search stretches for many years.

So, in search of Onegin, he finds himself in the village. Here:

Onegin locked himself at home,

Yawning, he took up the pen,

I wanted to write - but hard work

He was sick ...

I set a shelf with a detachment of books,

I read it, I read it, but everything is useless ...

Then Onegin takes over the management of his uncle's estate, but he quickly gets tired of it. In the village of Onegin, two trials awaited. The test of friendship and the test of love showed that with external freedom, the protagonist never freed himself from false prejudices and opinions. In relations with Tatyana, on the one hand, Onegin acted nobly: “But he did not want to deceive / Trustfulness of an innocent soul,” and was able to adequately explain himself to the girl. You can't blame the hero for not responding to Tatiana's love, because everyone knows the saying: "You can't command your heart." Another, that he acted according to his harsh, chilled mind, and not his feelings.

The quarrel with Lensky was invented by Eugene himself. He was well aware of this: "He called himself to a secret judgment, / He accused himself in many ways ...". For the fear of whispering and laughing behind his back, he paid with the life of a friend. Onegin himself did not notice how he again became a prisoner of public opinion. After the death of Lensky, a lot has changed in him, but it's a pity that only tragedy could open his eyes.

Thus, Eugene Onegin becomes a "superfluous person". Belonging to the light, he despises it. Onegin does not find his place in life. He is lonely and not in demand. Tatiana, whom Eugene will fall in love with, finding her a noble socialite, will not reciprocate. Life brought Onegin to the logical conclusion of his youth - this is a complete collapse, which can only be survived by rethinking the previous life. It is known that in the last, encrypted chapter, Pushkin brings his hero to the camp of the Decembrists.

After that, he showed the image of a new "superfluous person". It was Pechorin. In his novel "A Hero of Our Time" M. Yu. Lermontov depicted the 30s of the 19th century in Russia. These were difficult times in the life of the country. Having suppressed the uprising of the Decembrists, Nicholas I strove to turn the country into a barracks - all living things, the slightest manifestations of free thought were ruthlessly persecuted and suppressed.

The novel "A Hero of Our Time" consists of five chapters, each of which has a complete plot and an independent system of characters. We learn about the character of Pechorin gradually from the words different people... First, Staff Captain Maksim Maksimych talks about him, then the author, and, finally, the main character himself talks about himself.

The main character of the work is Grigory Aleksandrovich Pechorin, an extraordinary, intelligent, strong-willed person. He has a broad outlook, high education, culture. He quickly and correctly judges people, life in general.

The complexity of the personality of the protagonist is the duality, the contradictory nature of his character, which is noticed by the simple-minded Maxim Maksimych: “… in the cold all day long hunting; everyone will be chilled, tired - but he has nothing. And another time he sits in his room, smells of the wind, assures that he has a cold; knocks on the shutter, he shudders and turns pale, and when I was there he went to the wild boar one on one ... "This contradiction is also manifested in the portrait of Pechorin:" Despite light color his hair, his mustache and eyebrows were black - a sign of the breed in man ”; "His eyes didn't laugh when he laughed." The author gives two explanations for this: "This is a sign - either of an evil disposition, or of deep sadness."

Pechorin himself summarizes with precision: "It is like two people in me: one lives in the full sense of the word, the other thinks and judges him." It follows from this that Pechorin is a contradictory personality, and he himself understands this: “... I have an innate passion to contradict; my whole life was just a chain of sad and unsuccessful contradictions to my heart or reason. "

In addition, he is distinguished by a constant desire for action. Pechorin cannot stay in one place, surrounded by the same people. Coming out of the care of relatives, he set off in pursuit of pleasure. But very quickly I became disillusioned with all this. Then Pechorin tries to do science, read books. But nothing brings him satisfaction, and in the hope that "boredom does not live under the Chechen bullets", he goes to the Caucasus.

However, wherever Pechorin appears, he becomes "an ax in the hands of fate", "an instrument of execution." Breaks down the life of "peaceful" smugglers, kidnaps Bela, thereby destroying the life of not only the girl herself, but also her father and Kazbich, achieves Mary's love and refuses her, kills Grushnitsky in a duel, predicts the fate of Vulich, undermines the faith of old Maxim Maksimych in younger generation. Why is Pechorin doing this?

Unlike "Eugene Onegin", the plot, which is built as a system of tests of the hero moral values: friendship, love, freedom, in "A Hero of Our Time" Pechorin himself tests all the main spiritual values, experimenting with himself and others.

We see that Pechorin does not consider the feelings of other people, practically does not pay attention to them. We can say that the actions of this person are deeply selfish. They are all the more selfish because he justifies himself by explaining to Mary: “... such was my fate since childhood! Everybody read on my face the signs of bad qualities that were not there; but they were supposed - and they were born ... I became secretive ... I became vindictive ... I became envious ... I learned to hate ... I began to deceive ... I became a moral cripple ... "

But it seems to me that one cannot blame only Pechorin himself for "becoming a moral cripple." This is also the fault of a society in which there is no worthy application. better qualities hero. The very society that hindered Onegin. So Pechorin learned to hate, to lie, became secretive, he “buried his best feelings in the depths of his heart, and there they died”.

Thus, we can say that a typical young man of the 30s of the XIX century, on the one hand, is not devoid of intelligence and talents, “immense powers” ​​are hidden in his soul, and on the other hand, he is an egoist who breaks hearts and destroys lives. Pechorin is both an "evil genius" and at the same time a victim of society.

In Pechorin's diary we read: “... My first pleasure is to subordinate everything that surrounds me to my will; to arouse feelings of love, devotion and fear to oneself - isn't it the first sign and the greatest triumph of power ”. His attention to women, the desire to achieve their love is the need of his ambition, the desire to subordinate others to his will.

This is evidenced by his love for Vera. After all, there was a barrier between Pechorin and Vera - Vera was married, and this attracted Pechorin, who sought to achieve his goal despite any circumstances.

But Pechorin's love is still more than just intrigue. He is really afraid of losing her: “I jumped out onto the porch like a madman, jumped on my Circassian, who was being taken around the yard, and set off in full spirit on the road to Pyatigorsk. I mercilessly drove the exhausted horse, which, snoring and covered in foam, rushed me along the rocky road. " Vera was the only woman whom Pechorin really loved. At the same time, only Vera knew and loved Pechorin not fictional, but real, with all his advantages and disadvantages. “I should hate you ... You gave me nothing but suffering,” she says to Pechorin. But, as we know, this was the fate of most of the people with whom Pechorin was close ...

In a moment of sadness, Pechorin argues: “Why did I live, for what purpose was I born? And, it is true, it existed, and, it is true, there was a high purpose for me, because I feel immense strength in my soul. But I did not guess my purpose, I was carried away by the lures of empty and ignoble passions. " And in fact, did Pechorin have a "high appointment"?

Firstly, Pechorin is a hero of his time, because the tragedy of his life reflected the tragedy of a whole generation of young talented people that have not found a worthy application for themselves. And secondly, the protagonist's doubts about all values ​​firmly defined for other people - this is what condemns Pechorin to loneliness, what makes him a "superfluous person", "Onegin's younger brother." sees the similarities between Onegin and Pechorin in many ways. He says about Pechorin: “This is Onegin of our time, a hero of our time. Their dissimilarity is much less than the distance between Onego and Pechora. " But are there any differences between them?

There are, and quite significant ones. Onegin, as Belinsky writes: “is in the novel a man who was killed by his upbringing and Savor, to whom everything looked closely, everything became boring. Pechorin is not like that. This person is not indifferent, does not automatically bear his suffering: he madly chases after life, looking for it everywhere; bitterly he blames himself for his delusions. Internal questions are incessantly distributed in him, disturbing him, tormenting him, and in reflection he seeks their solutions: he spies on every movement of his heart, examines every thought of his. " Thus, he sees the similarities between Onegin and Pechorin in their typicality for their time. But Onegin turns his search for himself into an escape from himself, and Pechorin wants to find himself, but his search is full of disappointments.

Indeed, time does not stand still, and the development of the "superfluous person theme" did not stand still. She found her continuation in creativity. Main subject artistic image this writer has "the rapidly changing physiognomy of the Russian people of the cultural stratum." The writer is attracted by "Russian Hamlets" - a type of noble-intellectual, captured by the cult of philosophical knowledge of the 1830s - early 1840s. One of these people appeared in the first novel "Rudin", written in 1855. He became the prototype of the main character Dmitry Rudin.

Dmitry Rudin, appears in the estate of the rich lady Daria Mikhailovna Lasunskaya. Meeting with him becomes an event that attracted the most interested attention of the inhabitants and guests of the estate: “A man of about thirty-five came in, tall, somewhat stooped, curly, with an irregular face, but expressive and intelligent ... with a liquid sheen in fast dark blue eyes, with a straight wide nose and beautifully outlined lips. The dress he wore was not new and narrow, as if he had grown out of it. "

Rudin's character is revealed in the word. He is a genius orator: “Rudin possessed almost the highest secret - the music of eloquence. He was able, striking one strings of hearts, to make all others vaguely ring and tremble. " Enlightenment, science, the meaning of life - this is what Rudin talks about with such enthusiasm, inspiration and poetry. The statements of the main character of the work inspire and call for a renewal of life, for heroic achievements. Everyone feels the power of Rudin's influence on the audience, his conviction in words. Only Pigasov is embittered and does not recognize Rudin's merits - out of envy and resentment for defeat in the dispute. However, for an unusually beautiful speeches there is a hidden emptiness.

In relations with Natalia, one of the main contradictions of Rudin's character is revealed. Just the day before, he spoke with inspiration about the future, about the meaning of life, and suddenly we have a man who has completely lost faith in himself. Rudin's inability to take the last step manifested itself when at Avdyukhin's pond to Natalia's question: "What do we need to do now?" he replied: "Submit to fate ...".

Rudin's lofty thoughts are combined with practical unpreparedness. He undertakes agronomic transformations, but, seeing the failure of his attempts, he leaves, while losing his "daily piece of bread." An attempt to teach in a gymnasium and serve as a secretary to a dignitary ends in failure. "Rudin's misfortune is that he does not know Russia ..." - Lezhnev, who is completely opposite to Rudin, once said. Indeed, it is precisely his isolation from life that makes Rudin “an extra person”. The hero lives only by impulses of the soul and dreams. So he wanders, not finding a deed that he can bring to the end. And a few years later, having met with Lezhnev, Rudin reproaches himself: “But I'm not worth a shelter. I ruined my life and did not serve thought as it should ”. His wandering fate is echoed in the novel by a mournful and homeless landscape: “And in the courtyard the wind rose and howled with an ominous howl, heavily and viciously hitting the ringing glass. The long autumn night fell. It is good for the one who sits under the roof of the house on such nights, who has a warm corner ... And may the Lord help all homeless wanderers! "

The ending of the novel is tragic and heroic at the same time. Rudin dies on the barricades of Paris. They will only say about him: "The Pole was killed."

Rudin reflects tragic fate a man of the Turgenev generation: He has enthusiasm; and this is the most precious quality in our time. We all became unbearably judicious, indifferent and lethargic; we fell asleep, we froze, and thanks to the one who will stir and warm us even for a moment ”.

Rudin is a different variant of the type of "superfluous person" in comparison with Onegin and Pechorin. Heroes of the novels and in their own way life position an individualist and a "selfish reluctance", and Rudin is not only a hero of another, later time, but also another hero. Unlike his predecessors, Rudin strives for socially useful activities. He is not only alienated from the environment, but makes attempts to somehow change it. This significant difference between Rudin and Pechorin is indicated by: "One is an egoist who thinks of nothing but his personal pleasures; the other is an enthusiast who completely forgets about himself and is completely absorbed in general questions; one lives for his passions, the other for his ideas . These are people different eras, of various natures ".

So, the theme of “the extra person” is coming to an end. In the 20th century, some writers returned to it. But the return is no longer a discovery: the 19th century discovered and exhausted the topic of the "superfluous person".

Bibliography.

1. Eremina on literature. Grade 9: teaching aid. - M .: Publishing house "Exam", 2009.

2. Lermontov. Hero of our time. - M .: Publishing house of children's literature "VESELKA", Kiev, 1975.

3. Pushkin Onegin. A novel in verse. Foreword, note And he will explain. Articles by S. Bondi. - M .: "Children's Literature", 1973.

4. Turgenev (Rudin. Noble nest. The day before. Fathers and children.) A. Tolstyakova. - M .: "Moscow worker", 1974.

5. Shalaeva high school student reference book. - M .: Filol. Slovo Island: OLMA-PRESS Education, 2005.

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Pushkin on the manuscript of "Eugene Onegin".

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Illustration for the novel "A Hero of Our Time".

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Rudin at the Lasunskys.