Literary man. Excessive man in the history of Russian literature

"Excess person" is Socio-psychological type, imprinted in Russian literature of the first half of the 19th century; His main features: alienation from official Russia, from the native environment (usually noble), the feeling of intellectual and moral superiority over it and at the same time - spiritual fatigue, deep skepticism, the discord of the word and the case. The name "extra person" entered into universal use after "diary excess person"(1850) I.S. Romegenev, the same type has developed earlier: the first bright embodiment is Onegin (" Eugene Onegin ", 1823-31, A.S. Pushkin), then Pechorin (" Hero of Our Time ", 1839-40 , M.Yu.Lermontova), Lestes ("Who is to blame?", 1845 A.I.Gezena), Turgenev characters - Rudin ("Rudin", 1856), Lavretsky (" Noble Nest", 1859) and others. The features of the spiritual appearance of the" excess person "(sometimes in a complicated and modified form) are traced in the literature of the second half of the 19th - early 20th century. IN western European literature The "extra person" to a certain extent close to the hero disappointed in the social progress (Adolf, 1816, B. Konstan; "Son of the Century", 1836, A.Des Musse). However, in Russia, contradictions of the public situation, the contrast of civilization and slavery, the oppression of the reaction was put forward to a more prominent place, led by increased drama and the intensity of his experiences.

At the turn of 1850-60s, criticism (N.A. Dobrobrubov), leading the offensive to the liberal intelligentsia, pointed weak sides "Excessive man" - halfness, inability to actively interfere with life, but at the same time the topic of "excess person" was unlawful to reduce the topic of liberalism, and his historical basis - To Barory and "Oblomovochina". Also taken into account also the ratio of the typology of "excess person" as a cultural problem with art textin which - in the most difficult cases - the stability of the psychological complex of character turned out to be problematic: so, the mental fatigue and the indifference of Onegin replaced in the final chapter pushkin novel Youthful passion and passion. In general, wider, context literary Movement Type "Excess Man", arising as a rethinking romantic herodeveloped under the sign of more versatile and mobile characterology. Essential in the topic of "excess person" was and rejection of educational, morality installations in the name of the most complete and impartial analysis, reflection of the dialectics of life. It was also important to approve the value of a separate person, personality, interest in the "Human Soul Story" (Lermontov), \u200b\u200bwhich created the soil for fruitful psychological analysis and prepare future conquests of Russian realistic and post-financial artistic flows.

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

"Excess person" is also a certain literary type. Literary types (types of heroes) are a totality of characters close to their occupation, worldview and spiritual appearance. Distribution of one or another literary type It can be dictated by the very need of society in the image of people with some sustainable complex of qualities. Interest and benevolent attitude towards them from critics, the success of books, in which people are depicted, stimulates writers to "repetition" or "variations" of any literary types. Often, a new literary type is of interest to critics, which give it a name (" noble robber"," Turgenev woman "," extra man "," small man"," Nihist "," Bad "," humiliated and offended ").

The main thematic signs of "unnecessary people". This is primarily a person, potentially capable of any social action. It does not take offered by the Society "Rules of Game", it is characteristic of the possibility of changing anything. "Excess person" is a personality controversial, often conflicting with society and his life entry. It is also a hero, of course, disadvantaged in relations with parents, and the unfortunate in love. His position in society is unstable, contains contradictions: it is always at least some side associated with the nobility, but - already during the decline, about glory and wealth is rather memory. It is placed on Wednesday, one way or another it is alien: a higher or low environment, there is always a certain motive of alienation, not always immediately lying on the surface. The hero in the measure is formed, but this formation is rather unfinished, unsystematic; In a word, this is not a deep thinker, not a scientist, but a person with the "ability of judgment" to do fast, but immature conclusions. The crisis of religiosity is very important, often the struggle against the church, but often inner devastation, hidden insecurity, the habit of the name of God. Often - the gift of eloquence, skills in the letter, recordings or even writing poems. Always some claim to be the judge of their neighbor; The shade of hatred is required. In short, the hero is the victim of life canons.

However, with all the seemingly visible definiteness and clarity of the above criteria for the evaluation of the "excess person", the framework, which make it possible to talk about this or that character to this thematic line, are very blurred with one hundred percent confidence. It follows from this that the "extra person" cannot be "external" entirely, and it can be considered both in line with other topics, it is soldered with other characters belonging to the rest of the literary types. The material of the works does not allow to evaluate Onegin, Pechorin and others only from the point of view of their public "benefits", and the type of "excess person" itself is rather the result of the understanding of these heroes from certain public and ideological positions.

This literary type, as its development, acquired all new and new features and form of display. This phenomenon is quite natural, since each writer saw a "excess person" as he was in his presentation. All masters artistic wordwho had ever affecting the theme of the "excess person", not only added to this type a certain "breathing" of their era, but also tried to unite all the modern public phenomena, and the main structure of life, in the same image - the image of the time hero. All this makes the type of "excess person" in its own way universal. This is exactly what allows us to consider the images of Chatsky and Bazarov as heroes who have imposed on this type. These images are undoubtedly not refer to the type of "excess person", but at the same time perform one important function: the Griboedovsky Hero in his confrontation with the Famovsky society makes it impossible to peaceful resolution of the conflict between an outstanding personality and oblique life, thereby pushing other writers To the lighting of this problem, and the image of the Bazarov, the final (from my point of view), the type of "excess person" was no longer so much a "carrier" of time, as its "side" phenomenon.

But before the hero himself, he could attest "externally," a more hidden appearance of this type was to occur. The first signs of this type were embodied in the image of the Chatsky, the main character immortal comedy A.S.Griboyedov "Woe from Wit". "Griboedov -" man of one book "," V.F. Szevich noticed. - If it were not for the "grief from the mind," Griboedov would have no place in the literature at all. " And, indeed, although in the history of dramaturgy about Griboedov, as the author of several wonderful and fun comedies and water waters, written in collaboration with leading playwrights of those years (N.I. Khmelnitsky, A.A.Shakhovsky, P.A. Vyazemsky), but it was the "grief from the mind" turned out to be the whole of a kind. This comedy for the first time widely and freely depicted modern life and topics discovered a new, realistic era in Russian literature. Creative story This play is extremely complex. Her idea applies, apparently, by 1818. It was completed in the fall of 1824, the censorship did not allow this comedy to be selected, nor to the stage on the stage. The conservatives accused Griboedov in condensation of satirical paints, which became, in their opinion, the result of the author's "Branchy patriotism", and in Chatsk, they saw the misstitution of "Figaro-Griboedov" life philosophy.

The above examples critical interpretations plays only confirm all the difficulty and depth of her social and philosophical issuesmarked in the title of the comedy: "Woe from Wit". The problems of the mind and stupidity, madness and madness, foolishness and junning, pretending and hysticiary are delivered and solved Griboedov on a diverse domestic, social and psychological material. Essentially, all the characters, including secondary, episodic and insignificant, are drawn into the discussion of the attitude of the attitude towards the mind and various forms of nonsense and madness. The main figure, around which the entire variety of opinions about the comedy was immediately concentrated, became the smart "madman" Chatsky. From interpretation of his character and behavior, relationships with other characters depended the overall assessment of the author's plan, issues and art features Comedy. The main feature of the comedy is the interaction of two story-forming conflicts: a love conflict, the main participants of which are Chatsky and Sophia, and the conflict of socio-ideological, in which Chatsky faces the conservatives gathered at the Famusov House. I want to note that for the hero himself, it is paramount, not sociable ideological, and love conflict. After all, Chatsky arrived in Moscow with the sole purpose - See Sophia, find confirmation of the former love and may be wondering. It is interesting to trace how the lovers of the hero are exacerbating the ideological opposition of the Chatsky to the Famovsky society. at first the main character I do not even notice the usual vices of the environment where he got, and only sees the comic sides in it: "I am in the eccentrics in a miracle miracle / times, then forget ...".

But Chatsky is not a "extra person." He is only the forerunner of "extra people". Confirms this primarily the optimistic sound of the comedy finals, where Chatsky remains with the author of the right of historical choice. Consequently, the Griboedovsky hero can find (in perspective) its place in life. Chatsky could be among those who came out on December 14, 1825 for the Senate Square, and then his life would be predetermined for 30 years ahead: those who took part in the uprising returned from the reference only after the death of Nicholas I in 1856. But it could happen another. An insurmountable disgust for "freezostas" of Russian life would make Chazzian Eternal Skitchel in someone else's land, man without a homeland. And then - longing, despair, alienation, bile and, that is the worst for such a wrestling hero, is a forced idleness and inactivity. But this is just the guesses of readers.

Chatsky, rejected by society, has the potential to find a use. Onegin will not have such a possibility. He is a "extra person," who failed to realize himself, which "deafly suffers from the striking resemblance to children of this century". But before answering why, turn to the work itself. Roman" Eugene Onegin "- the work of amazing creative fate. It was created for more than seven years - from May 1823 to September 1830. The novel was not written "on a single breath", and consumed - from the structure and chapters created in different time, in different circumstances, in different periods creativity. The work was interrupted not only by turns of the fate of Pushkin (reference to Mikhailovskoye, the uprising of the Decembrists), but also new ideas for which he had challenged the text "Eugene Onegin". It seemed that the story itself was not very favorable to Pushkin's work: from the novel about the contemporary and modern lifehow Pushkin has conceived "Eugene Onegin", after 1825 he became a novel about completely different historical epoch. And, if we take into account the fragment and intermittentness of the work of Pushkin, then the following can be argued: the novel was for the writer something like a huge "notebook" or poetic "album". For more than seven years, these records were replenished with sad "remuneration" of the heart, the "observations" of a cold mind. extra man image literature

But "Eugene Onegin" is not only a "poetic album of lively impressions of the talent playing with its wealth", but also the "Roman of life", which has absorbed a huge historical, literary, public and household material. This is the first innovation of this work. Secondly, fundamentally innovative was that Pushkin, in many respects, relying on the work of A.S. Griboyedov "Mount from the mind", found new Type Problem hero - "time hero". Evgeny Onegin became such a hero. His fate, character, relationship with people determine the set of circumstances of modern reality, outstanding personal qualities and the circle of "eternal", the universal problems with which he faces. It is necessary to immediately make a reservation: Pushkin, in the process of working on the novel, set itself the task of demonstrating in the image of Onegin "the premature old age of the soul, which became the main feature young generation". And already in the first chapter, the writer notes social factorswho necessitated the character of the main character. The only thing that Onegin "True was a genius" that "he knew the harder of all sciences," as not without irony, the author notices, there was a "science of passion gentle", that is, the ability to love not loving, imitate feelings, remaining cold and calculating. However, Onegin is interested in Pushkin yet not as a representative of a common socially-domestic type, the whole essence is exhausted positive characteristicissued by secular milk: "N.N. wonderful person". Writer was important to show this image in motion, development, so that each reader would make due conclusions, would give a fair assessment of this hero.

First chapter - crucial moment In the fate of the main character who managed to abandon the stereotypes of secular behavior, from the noisy, but internally empty "rite of life." Thus, Pushkin showed how from faceless, but requiring unconditional subordination of the crowd suddenly appeared bright, uncommon person, able to overthrow the "burden" of secular conventions, "lagging behind the fuss."

For writers who paid the topic of "excess person" with their work, it is characteristic of the "testing" of his hero friendship, love, duel, death. It did not exception and Pushkin. Two trials that were expected by Onegin in the village - test love and friendship test - showed that the external freedom automatically does not entail liberation from false prejudices and opinions. In relations with Tatiana Onegin showed himself as a noble and peaceful delicate man. And it is impossible to blame the hero for not answering the love of Tatyana: the heart, as you know, do not order. Another thing is that Onegin listened not to the voice of his heart, but the voices of reason. In confirmation, I will say that in the first chapter Pushkin noted in the main hero of "sharp, chilled mind" and inability to strong feelings. And it is this mental disproportion that caused the failed love of Onegin and Tatiana. Friendship testing Onegin also could not stand. And in this case, the cause of the tragedy was his inability to live the life of feelings. No wonder the author, commenting on the condition of the hero in front of a duel, notes: "He could have detected feelings, / not bristle as a beast." And in the name of Tatiana, and before a duel with Lensky Onegin, she showed himself a "pursuit ball", "hostage of secular canons", deaf and to the voice of his own heart, and to the feelings of Lensky. His behavior in the names is the usual "secular anger", and the duel is a consequence of indifference and fear of the energies of the hardened Brener of the Zaretsky and neighboring landowners. Onegin and did not notice himself, as he became a prisoner of his old idol - "public opinion". After the murder of Lensky Evgeny changed simply radically. It is a pity that only the tragedy was able to open him before the inaccessible world of feelings.

Thus, Evgeny Onegin becomes an "external person." Belonging to the light, he despises him. He, as Pisarev noted, only remains that "to smell his hand on boredom of secular life, like an inevitable evil." Onegin does not find her true appointment and place in life, he is illuminated by his loneliness, unclaimed. Speaking by the Herzen, "Onegin ... an extra person in the environment where he is, but, without possessing the right nature of character, can not break out of it." But, according to the writer himself, the image of Onegin is not completed. After all, the novel in verses is essentially completed by such a formulation of the question: "What will be Onegin in the future?" Pushkin himself leaves the character of his hero open, emphasizing this very ability of Onegin to a sharp change of value guidelines and, notice, a certain readiness for action, to the act. True, Onegin is practically no opportunity to implement themselves. But the novel does not respond to the above question, he asks him to the reader.

So, the topic of "superfluous man" comes to its completion already in a completely different quality, having passed a difficult evolution path: from romantic Paphos The rejection of life and society to the acute rejection of the "excess person". 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 called "superfluous" it will be possible for completely different reasons. There will be a return to this topic (for example, the image of the "excess person" of Levushka Odoeevtsy from Roman A.Bitova "Pushkin House"), and suggestions that "extra" no, and there are only various variations of this topic. But the return is no longer discovery: the XIX century discovered and exhausted the topic of "excess person."

Bibliography:

• 1. Babayev E.G. Creativity A.S. Pushkin. - M., 1988
• 2. Batyuto A.I. Turgenev-Romanist. - L., 1972
• 3. Ilyin E.N. Russian literature: recommendations for schoolchildren and applicants, "School press". M., 1994.
• 4. Krasovsky V.E. The history of Russian literature of the XIX century, "Alma-Press". M., 2001.
• 5. Literature. Reference materials. Book for students. M., 1990.
• 6. Makogonenko G.P. Lermontov and Pushkin. M., 1987.
• 7. Monk O.P. Russian literature of the XIX century, "Alma-Press". M., 1999.
• 8. Fomichev S.A. Comedy Griboyedov "Woe from Wit": Comment. - M., 1983
• 9. Shamrey L.V., Rusova N.Yu. From Allegoria to Yamba. Terminological dictionary-thesaurus for literary studies. - N.Novgorod, 1993

How did the image of the "excess person" appeared? The history of the appearance is as follows: the romantic hero who does not accept society, placed in reality. Everyone ceases to admire the romantic, no one is imposed by torment that occur in the soul of loners. Writers understand this and show the true essence of the hero.

Who belong to "excess people"?

Who are "extra people"? They have enormous opportunities, talent, which will not find application. They cannot see the future, so it's often to avoid boredom go to have fun. It is easier and easier to become easier. Celebrating entertainment will only destroy them. They lead to gambling, duel. Some people who explored this problem, Alexander Chazki pioneer in this regard. This character There was a place in the "Woe from Wit" play, written by Griboedov. The remnants for him do not mean anything, and in the play, this nobleman says a lot, but does little.

Onegin is the brightest representative

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

Most. a bright representative The image of "extra people" is Evgeny Onegin, which Pushkin wrote about. The nobleman is young, formed. It spins in a secular society, but does not have certain purposes. He began to do anything, but could not finish it. Onegin is unhappy, he does not develop in friendship or in love. Belinsky compared Onegin with the Russian society, which is described in poetry. Nikolaev Russia was often represented by nobles who were disappointed in life and tired of her.

Pechorin, bugs, bazaars

(Grigory Pechorin)

Many may wonder: "Do you really forgot about Bazarov, Oblomov, Pechorin?" They also represent "superfluous people", each of which has certain features. As for Pechorin, it is a tendency to reflection, the presence of mind. However, this does not help him realize himself. This hero is self-disperse. But, if you compare Pechorin and Onegin, then the first is in search of the cause of your own suffering.

Oblons, which is the hero of the novel written by Goncharov, is able to be friends, love, has kind heart. But he prefers to sit at home, he is apathetic and sluggish. Researchers say that this is the hero that is culminating in the era of "extra people."

(Bazarov in disputes with Kirsanov Pavlom Petrovich)

If it comes to Evgenia Bazarov, the novel "fathers and children", then everything is different here. This hero is not noble blood. He puts the goal, is engaged in science. However, the bazaars cannot find a place in society. He moves away from all the old, without understanding that it is necessary to create anything instead. Therefore, they refer to "excess people."

The role of unnecessary people in works

It should be noted that the "extra people" are the heroes of Russian literature who are remembered by readers most. Why? The authors show a separate person, his soul, vices, motifs. In this case, there are no morality, educational installations. The work occurs in some extent analysis of the psychological direction.

Overtime

"Excess person", socio-psychological type, imprinted in Russian literature of the 1st half of the 19th century; His main features: alienation from official Russia, from the native environment (usually ≈ noble), the sense of intellectual and moral superiority over it and at the same time ≈ mental fatigue, deep skepticism, the discord of the word and the case. Name "L. h. " entered into universal use after the "Diary of an extra person" (1850) I. S. Turgenev; The same type has developed earlier: the first completed embodiment of Onegin ("Eugene Onegin" A. S. Pushkin), then Pechorin ("Hero of Our Time" M. Yu. Lermontov), \u200b\u200bLodgers ("Who is to blame?" A. I. Herzen ), Turgenev characters: Rudin ("Rudin"), Lauretsky ("noble nest") and others. The features of the spiritual appearance "L. h. " (sometimes in a complicated and modified form) traced in the literature of the 2nd half of 19 ≈ the beginning of 20 centuries. (In the works of M. E. Saltykova-Shchedrin, L. N. Tolstoy, A. P. Chekhov, up to A. I. Kurin, V. V. Veresaev, M. Gorky). Typology "L. h. " He affected lyrics (Lermontov, N. P. Ogarov). In Western European literature "L. h. " To a certain extent close to the hero, caused to the life of the "long hangover" (see K. Marx, in the book: Marx K. and Engels F., writings, 2 edition, volume 8, p. 122) after the bourgeois revolution 18 V. , disappointment in social progress ("Adolf" B. Konstan, "Confession of the Son of the Century" A. De Mussse). However, the contradictions of Russian reality, the contrast of "civilization and slavery" (see A.I. Herzen, the collection of works, 2007, 1956, p. 205), undeveloped public Life put forward "L. h. " For a more prominent place, the increased drama and the intensity of its experiences were led. At the turn of 50-160s. revolutionary Democrats N. G. Chernyshevsky and N. A. Dobrolyubov sharply criticized "L. h. ", His indecision and passivity, at the same time illegally reducing the content of the problem" L. h. " To the topic of liberalism. With revaluation "L. h. " F. M. Dostoevsky also condemned his individualism and cutoff from folk soil. Literary image "L. h. ", Arriving as a rethinking of a romantic hero (J. Byron, Pushkin), developed under the sign of realistic portraying, identifying the difference between the character and the author. Essential in the topic "L. h. " There was a refusal of educational attitudes in the name of an impartial analysis of the "Human Soul Story" (Lermontov), \u200b\u200bwhich created the soil for deep psychologism and subsequent conquests of realism.

Lit.: Chernyshevsky N. G., Russian man on Rendez-Vous, full. Cathedral cit., t. 5, M., 1950; Goncharov I. A., Millon Torzania. Cathedral Op., vol. 8, M., 1952.

Yu. V. Mann.

Wikipedia

Overtime

Overtime - literary herocharacteristic of the works of Russian writers of the 1840s and 1850s. This is usually a person of significant abilities that cannot realize his talents on the official field of Nikolaev Russia.

It belongs to the highest classes of society, an extra person is alienated from the noble class, despises officials, but not having the prospects for other self-realization, mainly spends time at idle entertainment. Such a lifestyle is not able to facilitate his boredom, which leads to duels, gambling and other self-destructive behavior. TO typical traits Such a person belongs to "spiritual fatigue, deep skepticism, the discord between the word and the case and, as a rule, public passivity."

The name "extra person" was gained over the type of disappointed Russian nobleman after the publication in 1850 the story of Turgenev "Diary of an extra person." The earliest I. classic examples - Evgeny Onegin A. S. Pushkin, Chatsky from "Grief from Wit", Pechorin M. Lermontov - We go go to bayronic hero. The epochs of romanticism, to Rena Shatubra and Adolf Konstan. The further evolution of the type represent Herzenal Lestes ("Who is to blame?") And the heroes early works Turgenev (Rudin, Laurel, Chulcaturin).

Extra people often bring trouble not only to themselves, but also female characterswho have misfortune to love them. Negative side Such people associated with their displacement beyond the socio-functional structure of society, enters the first plan in the works of writers-officials A. F. Pisemsky and I. A. Goncharov. The latter contrasts the "hooks in the winter" by the idlers of practical Deltsov: Aduyev-youngee - Aduva-Sr., and Oblomov - Stolz. In the "War of War and the World" in the position of the extra person of the beginning of the century, Pierre Duchets stays:

Pierre felt the unfortunate ability of many, especially Russian people, - the ability to see and believe in the possibility of good and truth, and too clearly see evil and lies to life, in order to be able to take serious participation in it. Every region of labor in his eyes was connected with evil and deception. What he tried to be, for which he was taken - evil and lies repelled him and blocked him all the ways of activity. Meanwhile, it was necessary to live, it was necessary to be busy. It was too scary to be under the oppression of these unsolvable issues of life, and he was given to the first hobbies to just forget them. He traveled to all sorts of societies, drank a lot, bought paintings and built, and most importantly read.

Municipal General Education

Casicin Central Secondary School

Essay in literature

"The type of" excess person "

Ivanova Daria

Work checked:,

from. Casacheki

1. Introduction.

2. Evolution of the image of a "excess person" in Russian xIX literature century.

2.1. The spiritual drama of the young Petersburger Evgeny Onegin.

2.2. The tragedy of the "Hero of Our Time" - Pechorin.

2.3. Skaltic fate of Rudina.

3. List of literature used

In Russian literature early XIX. The concept of "type of extra person" appeared. "An extra person" is a person of significant abilities, to the measure of educated, but having a certain good full education. He is not able to realize his talents on public service. It belongs to the highest classes of society, mainly spends time at idle entertainment. Such a lifestyle is not able to facilitate his boredom, which leads to duels, gambling and other self-destructive behavior. The appearance of such a literary type was associated with a rebellious environment in the country, since the XIX century - the time of approval in Russia of capitalism:

Nineteenth century - rebellious, rigorous age -

Going and says: "Poor a man!

What are you thinking about? take feather, write:

In the creatures there is no Creator, there is no soul in nature ... ()

The topic of "excess person" is relevant today, since, first of all, it cannot be called fully studied. Literary crituals have not yet come to a consensus on typical qualities inherent in "extreme person." Each writer endowed his hero with special qualities characteristic of his time.

Exactly unknown, by whom and when the image of an "excess person" was created. Some believe that it was created. Others consider the author of the concept. IN rough variant VIII chapter "Evgeny Onegin" he himself calls his hero "external": "Onegin as something superfluous". But there is also a version that the type of "excess person" introduced into Russian literature. Secondly, today you can meet people who do not fit into the overall way of life of society recognizing other values.

The purpose of this work is to show the evolution of the type of "excess person" on the example of works from school program: "Eugene Onegin" and "Hero of our time." Roman "Rudin" was studied independently.

The history of the creation of "Eugene Onegin is amazing. He worked on him more than eight years. The novel was made of stanza and chapters written at different times. Belinsky about him said that this is "the most sincere work of Pushkin, the most favorite child of his fantasy. Here is the whole life, the whole soul, all the love of him; Here is his feelings, concepts, ideals. "

Evgeny Onegin is the main character of the work, a young man, fashionable, superbly inscribed in the secular life of St. Petersburg, studied "something and somehow." It is not accustomed to serious consistent work. His appearance in the light occurred early enough, so the higher society is tired of him. Eugene masterfully portrayed feelings to succeed in a secular society. But, becoming a virtuoso in this game, reaching the limit, involuntarily he went for him and disappointed. This happened because the device was accompanied by almost any system of relations accompanied by a certain reaction: "In short: Russian Handra / they gradually took possession."

Onegin conflict has become a kind of protest against the laws of society who inhibit the person in man who deprive him of the right to be themselves. Durability secular society I made a soul of the main character empty:

No: early feelings in it cooled;

He was bored with light noise;

Beautians are not long

The subject of his usual dum;

Treason managed to tire;

Friends and friendship are fed up ...

He is trying to find a business in the soul, but the search is stretched for many years.

So in search of Onegin turns out to be in the village. Here:

Onegin home locked,

Yawning, for the feather took

I wanted to write - but the work is stubborn

He was a torn ...

The detachment of books was installed the shelf,

I read, read, and without anything ...

Then Onegin is taken for managing the realm of uncle, but it quickly bothers him. Two tests were expected in the village of Onegin. The test of friendship and the test of love showed that with external freedom the protagonist never freed from false prejudices and opinions. In relations with Tatiana, on one side, Onegin entered noble: "But he did not want to deceive the Soul's Greetness of the soul," and could adequately explain to the girl. It is impossible to blame the hero for not answering the love of Tatiana, because everyone knows the saying: "He does not order a heart." The other that he acted according to his sharp, chilled by the mind, and not feelings.

A quarrel with Lensky was invented by Evgeny himself. He perfectly realized this: "At the secret court, having called himself, / he accused himself in many ways ...". For fear of whisper and stot behind his back, he paid a friend's life. Onegin himself did not notice how he again became a prisoner of public opinion. After the death of Lensky in it, much changed, but it is a pity that only the tragedy was able to open his eyes.

Thus, Evgeny Onegin becomes an "external person." Belonging to the light, he despises him. Onegin does not find his place in life. He is alone and not in demand. Tatiana, in which Eugene fell in love, finding her noble secular lady, will not answer him reciprocity. Life led Onegin to the logical completion of his youth - this is a complete collapse, to survive which can only be rethinking the previous life. It is known that in the last, encrypted chapter, Pushkin leads his hero in the camp of the Decembrists.

Following showed the image of a new "excess person." They became Pechorin. In his novel, the "Hero of our time" M. Yu Lermontov displaced the 30s of the XIX century of Russia. It was not easy in the life of the country. Presenting the uprising of the Decembrists, Nikolai I sought to turn the country into the barracks - all the living, the slightest manifestations of freedomiff are mercilessly pursued and suppressed.

The novel "Hero of Our Time" consists of five chapters, each of which has a finished plot and an independent system of characters. About the character of Pechorin, we will learn gradually by words different people. At first, Headquarters Captain Maxim Maximach tells about him, then the author, and, finally, the main character himself speaks of himself.

The main character of the work - Grigory Aleksandrovich Pechorin, an extraordinary, clever, volitional man. He has a wide range, high education, culture. He quickly and truly judge people, about life in general.

The complexity of the personality of the main character is the duality, the inconsistency of his character, which is noticed by the simple Maxim Maximych: "... in the cold all day on the hunt; All will be messy, they will be set up - and nothing to him. And another time it sits in his room, the wind smells, assures that she has witned; Stone knocknet, he will flock and pale, and when I went to the boar one on one ... ". This inconsistency is manifested in the portrait of Pechorin:" Despite light color his hair, his mustache and eyebrows were black - a sign of breed in man "; "His eyes did not laugh when he laughed." The author gives it two explanations: "This is a sign - or evil in the face, or deep sadness."

Pechistan himself generalizes with accuracy: "In me, like two people: one lives in the full sense of the word, another thinks and judges it." From this it follows that Pechorin is a person contradictory, and he himself understands it: "... I have a congenital passion to contradict; My whole life was only a chain of sad and unsuccessful contradictions to the heart or mind. "

In addition, it is distinguished by a constant desire for action. Pechorin cannot resist in one place, surrounded by the same people. Coming out from under the guardianship of the relatives, he went into pursuit of pleasure. But very quickly disappointed in all this. Then Pechorin is trying to engage in 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, where the Pechorne appears, he becomes an "ax in the hands of fate", "gun execution". The life of the "peaceful" smugglers, abducts Bal, thus, destroying the life of not only the girl itself, but also her father and Kazbich, seeks love of Mary and refuses her, kills the duel of Grushnitsky, predicts the fate of the vobich, undermines the faith of the old man Maxim Maxim younger generation. Why does Pechorin do it?

Unlike Evgeny Onegin, the plot in which the hero test system is built moral values: friendship, love, freedom, in the "Hero of Our Time" Pechorin himself subjected to check all the main spiritual values, putting experiments on themselves and others.

We see that Pechorin is not considered with the feelings of other people, practically does not pay attention to them. It can be said that the actions of this person are deeply selfish. Especially selfish that he justifies himself, explaining from Mary: "That was my fate since childhood! Everyone was read on my face signs of bad properties that were not; But they were assumed - and they were born ... I became hidden ... I became malpamine ... I became envious ... I learned to hate ... I started to deceive ... I got mustic cripple...»

But it seems to me that it is impossible to blame only the Pechistan himself in the fact that he "became moral cripple." This is also guilty to a society in which there is no decent application. best qualities Hero. The most society that prevented Onegin. So Pechorin learned to hate, lying, began to hide, he "buried the best feelings in the depths of the heart, they died there."

Thus, it can be said that a typical young man of the 30s XIX centuryOn the one hand, the mind and talent is not deprived of the mind, "the forces are immense" in his soul, and on the other hand, it is an egoist, breaking the heart and destroying life. Pechorin is both "angry genius" and at the same time victim of society.

In the diary of Pechorin, we read: "... the first pleasure to subordinate my will all surrounds me; To excite the feeling of love, loyalty and fear - is not the first sign and the greatest celebration of power. " His attention to women, the desire to achieve their love is the need for his ambition, thirst to subordinate to their will of others.

This is what his love for faith says. After all, there was an obstacle between the peopus and faith - the faith was married, and this attracted Pechorin, who sought to achieve his contrary to any circumstances.

But the love of Pechorin is still more than just intrigue. He is really afraid of losing her: "I like a crazy jumped into the porch, jumped on my Cherkees, who was drove in the yard, and went down to the whole spirit on the road to Pyatigorsk. I mercilessly chased the exhausted horse, who, snoring and all in the foam, rocked me on the rocky road. " Faith was the only woman He Pechorin loved truly. At the same time, only faith knew and loved Pechorin not fictional, and real, with all his advantages and disadvantages. "I would hate you ... You didn't give me anything but suffering," she says Pechistan. But, as we know, this was the fate of most people with whom Pechorin converged near ...

In a minute, Sauskin's sadness argues: "Why did I live, for what purpose did I born? And right, she existed, and rightly, it was a high appointment to me, because I feel in my soul of my strength. But I did not guessed my destination, I got carried away by the baits of passions of empty and ignorable. " And in fact, did Pechorina have the "appointment high"?

First, Pechorin is the hero of his time, because in the tragedy of his life, the tragedy of the whole generation of young talented peoplewho have not found decent applications. And secondly, the doubts of the main character in all the values \u200b\u200bdefined for other people - this is what the Pechorina obverse for loneliness, what makes it "external person", " younger Brother Onegin. " Sees the similarity between Onegin and Pechorin in very many qualities. He talks about Pechorin: "This is Onegin of our time, the hero of our time. The vanity between them is much less than the distance between you and Pechoro. " But is there any differences between them?

There are, and essential enough. Onegin, as Belinsky writes: "He is in the novel by a person who was killed upbringing and savorwhich everyone looked like, everything was like. Not like Pechorin. This person is not indifferent, does not automatically carry his suffering: he is mad, he is chasing life, looking for it everywhere; Gorky accuse himself in his delusions. In it, internal questions are inexpressible, it is disturbed, it is torture, and he is looking for their permissions in reflection: he peers every movement of his heart, considers his idea. " Thus, he sees the similarity of Onegin and Pechorin in their typicalness for their time. But Onegin's search for himself turns into flight from himself, and Pechorin wants to find himself, but his search is full of disappointment.

Indeed, time does not stand still, there was no development of the "theme of an extra person" on the spot. She found her continuation in creativity. The main subject artistic image This writer has a "rapidly changing physiognomy of Russian people of the cultural layer." The writer attracts "Russian gamets" - the type of nobleman-intellectual, captured by the cult of philosophical knowledge of the 1830s - early 1840s. One of these people appeared in the first Roman Rudin, created in 1855. The prototype of the chief hero of Dmitry Rudida became.

Dmitry Rudin, appears in the estate of the rich Baryni Darya Mikhailovna Lasunskaya. Meeting with him becomes an event, attracted the most interested attention of the inhabitants and guests of the estates: "The man has entered the age of thirty five, high height, Several short, curly, with the wrong, but expressive and smart ... with a liquid gloss in quick dark blue eyes, with a straight wide nose and beautifully outlined lips. The dress on it was not new and narrowly, as if he had grown out of him. "

The nature of the Rudine is revealed in the word. He is a brilliant speaker: "Rudin owned hardly by the highest secret - music of eloquence. He knew how to hit in one strings of hearts, to make vaguely ring and tremble all the others. " Education, science, meaning of life - this is what Rudin says so enthusiastic, inspired and poetic. The statements of the chief hero of the work inspire and name to update life, to heroic accomplishments. The power of the impact of the Rudin on the listeners, the conviction of the word Feel everything. Noborine and does not recognize the advantages of Rudina one Pigasov - from envy and resentment for defeat in the dispute. However, for unusually beautiful speeches There is hidden devastation.

In relations with Natalia, one of the main contradictions of the nature of Rudin is revealed. On the eve of the day before, he inspired about the future, about the meaning of life, and suddenly we had a completely disgraced man in himself. The inability of Rudda make the last step manifested itself when Avdyukhina Pond to Natalia's question: "What should I do now?" He replied: "To conquer fate ...".

High thoughts are combined with practical unpreparedness. It is taken for agronomic transformations, but, seeing the unsuccessfulness of his attempts, leaving, losing the "urgent piece of bread." Failure will end an attempt to teach in the gymnasium and the secretary of the Secretary of the Sanovna. "The misfortune of Rudda is that he does not know Russia ..." - he said to Lenzhnev's completely opposite Rudin. Indeed, it is the divorce from life that makes Rudy "Excess Man." The hero lives only with the gusts of the soul and dreams. So he wanders, not finding a business that can be finished. And a few years later, having met with Lena, Rudin Coris himself: "Yes, I don't stand only. I spoiled my life and did not serve my thoughts as follows. " His sophisticated fate fits in the novel by a mournful and non-safe landscape: "And the wind rose in the yard and overwhelmed by sinisterogue, heavily and viciously hitting the ringing glasses. There was a long autumn night. Well, someone who sits in such nights under the root house, who has a warm corner ... and let the Lord will help with all the uneteble walkers! "

The final of the novel is tragic and heroic at the same time. Rudin dies on the barricades of Paris. He would say everything about him: "Pole killed."

In Rudine reflected tragic fate a man of Turgenev generation: it has enthusiasm; And this is the most precious quality in our time. We all became unbearably reasonable, indifferent and sluggish; We fell asleep, we froze, and thanks to the one who at least a moment we stirred and warm us. "

Rudin is a different version of the type of "excess person" compared to Onegin and Pechor. Heroes of novels and in their life position Individualist and "Egoist unwitting", and Rudin is not only a hero of another, later, but also another hero. Unlike its predecessors, Rudin strives for social and useful activities. It is not just alienated from the environment, but it makes attempts to somehow change it. This is a significant difference between Rudin and Pechorin indicates: "One egoist who does not think about anything except his personal pleasures; the other is an enthusiast, completely forgetting himself and all absorbed by common issues; one lives for his passions, the other - for his ideas . These are people different epochs, different natures. "

So, the topic of "excess person" comes to its completion. In the XX century, some writers returned to her. But the return is no longer discovery: the XIX century opened and exhausted the topic of "excess person."

Bibliography.

1. Eremin in literature. Grade 9: educational and methodical manual. - M.: Publishing House "Exam", 2009.

2. Lermontov. Hero of our time. - M.: Publisher of children's literature "Messel", Kiev, 1975.

3. Pushkin Onegin. Roman in verse. Prepared., Note. And explain. Articles S. Bondi. - M.: "Children's literature", 1973.

4. Turgenev (Rudin. Noble nest. On the eve. Fathers and children.) Note. A. Tollova. - M.: Moscow Worker, 1974.

5. Shalaeva Handbook of the high school. - M.: Philol. O-in "Word": Alma-Press Education, 2005.

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Pushkin on the manuscript "Eugene Onegin."

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Illustration to the novel "Hero of our time."

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Rudin at Lasunsky.