Composition: Oblomov and “superfluous people. The composition “Can a good person be“ superfluous ”? (2)
V early XIX centuries in Russian literature there are works central issue which is the conflict between the hero and society, the person and the environment that raised him. And, as a result, new image- the image of a "superfluous" person, a stranger among his own, rejected by the environment. The heroes of these works are people of an inquiring mind, gifted, talented, who had the opportunity to become writers, artists, scientists, and who became, in Belinsky's words, "clever uselessness", "suffering egoists", "unwillingly egoists." Image " extra person”Changed with the development of society, acquired new qualities, until, finally, it reached full expression in the novel by I.A. Goncharova "Oblomov".
In Goncharov's novel we have the story of a man in whom there are no inclinations of a decisive fighter, but there is all the data to be a good, decent person. “Oblomov” is a kind of “book of results” of interaction between the individual and society, moral convictions and social conditions in which a person is placed. A whole phenomenon can be traced in Goncharov's novel public life- Oblomovism, which brought together the vices of one of the types of noble youth of the 50s of the XIX century. In his work, Goncharov “wanted to ensure that the random image that flashed before us was elevated into a type, giving it a generic and permanent meaning,” wrote N.А. Dobrolyubov. Oblomov is not a new face in Russian literature, "but before it was not presented to us as simply and naturally as in Goncharov's novel."
Ilya Ilyich Oblomov is a weak-willed nature, sluggish, torn from real life... "Lying down ... was his normal state." Oblomov's life is a pink nirvana on a soft sofa: slippers and a bathrobe are integral companions of Oblomov's existence. Living in a narrow world he himself created, fenced off from real life by dusty curtains, the hero loved to make unrealizable plans. He never brought anything to the end, any of his undertakings comprehended the fate of the book, which Oblomov had been reading for several years on one page. However, Oblomov's inaction was not elevated to an extreme degree and Dobrolyubov was right when he wrote that “... thinking ... "The hero of Goncharov in his youth was a romantic, thirsty for the ideal, burned out from the desire for activity, but" the flower of life blossomed and did not bear fruit. " Oblomov became disillusioned with life, lost interest in knowledge, realized the worthlessness of his existence and lay down on the sofa, believing that in this way he could preserve his moral integrity. So he “lay” his life, “slept through” love and, as his friend Stolz said, “his troubles began with the inability to put on stockings and ended with the inability to live”. The peculiarity of Oblomov's image is that he "protested" on the couch, believing that it was best image life, but not through the fault of society, but because of their own nature, their own inaction.
Relying on the peculiarities of life Russia XIX century, we can say that if "superfluous" people were found everywhere, regardless of the country and the state system, then Oblomovism is a purely Russian phenomenon, generated by the Russian reality of that time. It is no coincidence that Dobrolyubov sees Oblomov as "our indigenous folk type."
Many critics of that time, and the author of the novel himself, saw Oblomov as a "sign of the times", arguing that the image of a "superfluous" person was typical only for feudal Russia of the 19th century. They saw the root of all evil in state structure country. But I cannot agree that the apathetic dreamer Oblomov is a product of the autocratic-serf system. This can be proved by our time, where many find themselves out of place, do not find the meaning of life and, like Oblomov, kill best years life lying on the couch. So Oblomovism is a phenomenon not only of the 19th century, but also of the 21st century. Therefore, I believe that it is not to blame for the tragedy of the "unnecessary" serfdom, in particular, but the society in which distorted true values, and vices often wear a mask of virtue, where a person can be trampled by a gray, silent crowd.
Plan.
Gallery of extra people
Attributes of "extra people" The origins of the origin of "Oblomovism"
Real-fabulous life
Possible happiness and Olga Ilyinskaya
Conclusion. Who is to blame for Oblomovism?
Goncharov's novel Oblomov continues the gallery of works in which heroes are described that are superfluous for the whole world and for themselves, but not superfluous for the passions boiling in their souls. Oblomov, the main character novel, following Onegin and Pechorin, the same thorny path disappointments in life, trying to change something in the world, trying to love, make friends, maintain relationships with acquaintances, but all this is bad for him. In the same way, life did not work out for Lermontovsky and Pushkin's heroes... And the main characters of all these three works, "Eugene Onegin", "A Hero of Our Time" and "Oblomov", are also similar - pure and bright creatures who could not stay with their beloved. May be, certain type Are men attracted to a certain type of women? But why, then, are such worthless men attracted to such beautiful women? And, in general, what are the reasons for their worthlessness, were they really born that way, or is it a noble upbringing, or is the time to blame for everything? We will also try, using Oblomov's example, to grasp the essence of the problem of “extra people” and try to answer the questions posed.
With the development of the history of "extra people" in literature, a kind of attributes, or things, objects, which must be present in every such "extra" character, have been developed. Oblomov has all these accessories: a dressing gown, a dusty sofa and an old servant, without whose help he seemed to die. Maybe that's why Oblomov does not go abroad, because there are only "girls" in servants who do not know how to remove boots from a master. But where did all this come from? It seems that the reason must first of all be sought in the childhood of Ilya Ilyich, in that pampered life that the landowners of that time led and in that inertia that was instilled from childhood: “his mother, having fondled him again, let him go for a walk in the garden, in the yard, in the meadow , with strict confirmation to the nanny not to leave the child alone, not to allow him to the horses, dogs, to the goat, not to go far from home, and most importantly, not to let him into the ravine, as the most scary place in the neighborhood, used bad reputation". And, having become an adult, Oblomov also does not allow himself either to horses, or to people, or to the whole world. Why it is in childhood that it is necessary to look for the roots of such a phenomenon as "Oblomovism" is clearly seen when comparing Oblomov with his childhood friend, Andrei Stolts. They are the same age and the same social status but as two different planets colliding in space. Of course, all this can be explained only German descent Stoltz, however, how then to be with Olga Ilyinskaya, a Russian young lady, who in her twenty years was much more purposeful than Oblomov. And the point here is not even age (Oblomov at the time of the events is about 30 years old), but again in upbringing. Olga grew up in her aunt's house, not restrained either by the strict instructions of her elders, or by constant affection, and she learned everything herself. Therefore, she has such an inquiring mind and desire to live and act. After all, in childhood there was no one who would take care of her, hence the sense of responsibility and the inner core, which does not allow deviating from their principles and way of life. Oblomov, on the other hand, was raised by the women of his family, and this is not his fault, but somewhere the fault of his mother, her so-called selfishness in relation to her child, a life filled with illusions, goblin and brownies, and maybe that was everything society, in these pre-construction times. "The adult Ilya Ilyich, although later he learns that there are no honey and milk rivers, there are no good sorceresses, although he jokes with a smile over the nanny's tales, this smile is not sincere, it is accompanied by a secret sigh: his fairy tale has mixed with life, and he sometimes unconsciously sad, why a fairy tale is not life, and life is not a fairy tale ”.
Oblomov remained to live in fairy tales told by the nanny, and he could not plunge into real life, because real life, it is for the most part black and gone, and people living in fairy tales have no place in it, because in real life everything happens not by the wave of a magic wand, but only thanks to human will. Stolz says the same thing to Oblomov, but he is so blind and deaf, so captured by petty passions raging in his soul that sometimes he does not even understand his own best friend: “Well, brother Andrey, and you are the same! There was one sensible man, and he went crazy. Who goes to America and Egypt! The British: so they are so arranged by God; and they have nowhere to live at home. Who will go with us? Is it a desperate one who doesn't care about life. " But Oblomov himself doesn't care about life. And he is too lazy to live. And it seems that only love, a big and bright feeling, can revive him. But we know that this did not happen, although Oblomov tried very hard.
At the beginning of the emergence of relations between Oblomov and Olga Ilyinsky, we also have a hope that “happiness is possible,” and, indeed, Ilya Ilyich is simply transformed. We see him in the bosom of nature, in the country, far from the dusty bustle of the capital, and from the dusty sofa. He is almost like a child, and this village reminds us so much of Oblomovka, when Ilya Ilyich's mind was still childish and inquisitive, and when the infection of Russian spleen had not yet had time to creep into his body and soul. Probably, in Olga he found his early dead mother and just as unquestioningly began to obey her, and he was also happy that he took patronage over him, because he himself had not learned to manage his life. But love for Olga is another fairy tale, the truth invented by him this time, although he wholeheartedly believes in it. A “superfluous person” is not able to cultivate this feeling, because it is also superfluous for him, just as he is superfluous for the whole world. However, Oblomov does not lie, confessing his love to Olga, because Olga is indeed a “fairytale” character, because only a fairy from a fairy tale can fall in love with a person similar to him. How many wrong things Oblomov does - this is the letter he invented at night, this is the constant fear that they will gossip about them, this is an endlessly drawn-out business with the wedding arrangement. Circumstances are always higher than Oblomov, and a person who is unable to control them will certainly slide into a lack of understanding, despondency and blues. But Olga is patiently waiting for him, her patience can only be envied, and, finally, Oblomov himself decides to break off the relationship. The reason is very stupid and not worthwhile, but such is Oblomov. And this is probably the only act in his life that he could decide on, but the act is stupid and ridiculous: “Who cursed you, Ilya? What did you do? You are kind, smart, gentle, noble ... and ... you are perishing! What killed you? There is no name for this evil ... - Yes, - he said, barely audibly. She looked inquiringly at him with tearful eyes. - Oblomovism! " This is how one phenomenon ruined the whole life of a person! However, do not forget that it was he, this person, who gave birth to this phenomenon. It did not grow out of nowhere, it was not brought in like a disease, it was carefully cultivated, cared for and cherished in the heart of our hero, and took such strong roots that it is no longer possible to pull it out. And when instead of a person we see only this phenomenon, wrapped in an outer shell, then such a person really becomes “superfluous” or ceases to exist altogether. That's how Oblomov quietly dies in the house of the widow Pshenitsyna, the same phenomenon instead of a person.
I would like to think that, nevertheless, society is to blame for such a weak-willed existence of Oblomov, because he lives in a quiet and quiet time free from shocks, uprisings and wars. Maybe his soul is just calm, because there is no need to fight, worry about the fate of the people, his safety, the safety of his family. At such a time, many people are simply born, live and die, just like in Oblomovka, because time does not require deeds from them. But we can say with confidence that if danger had arisen, Oblomov would not under any guise go to the barricades. This is his tragedy. And how then to be with Stolz, he is also a contemporary of Oblomov and lives with him in the same country and in the same city, however, his whole life is like a small feat. No, Oblomov himself is to blame, and this makes it even more bitter, because in fact he good man.
But such is the fate of all "superfluous" people. Unfortunately, it is not enough to be just a good person, you also need to fight and prove it, which Oblomov, unfortunately, could not do. But he became an example for people of that time and today, an example of who you can become if you are not able not only to manage the events of life, but also yourself. They are "superfluous", these people, they have no place in life, because it is cruel and merciless first of all towards the weak and the weak, and because one must always fight for a place in this life!
Bibliography
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Tags: Oblomov and "extra people" Composition Literature
Oblomov is a socio-psychological novel written in the 19th century. In the work, the author touches on a number of social and philosophical problems, including issues of human interaction with society. The protagonist of the novel, Ilya Ilyich Oblomov, is an "extra person" who does not know how to adapt to a new, rapidly changing world, to change himself and his views for the sake of a brighter future. That is why one of the most acute conflicts in the work is the opposition to the passive, inert hero of an active society, in which Oblomov cannot find a worthy place for himself.
What do Oblomov have in common with "superfluous people"?
In Russian literature, such a type of hero as a "superfluous person" appeared in the early 20s of the 19th century. For this character was characterized by alienation from the familiar noble environment and in general the entire official life Russian society, as he felt boredom and his superiority (both intellectual and moral) over the rest. The "superfluous person" is overwhelmed with mental fatigue, can talk a lot, but do nothing, is very skeptical.
At the same time, the hero is always the heir to a good fortune, which he, nevertheless, does not try to increase.
And indeed, Oblomov, having inherited more of the estate from his parents, could easily have settled things there for a long time so that he could live in full prosperity on the money he received from the economy. However, mental fatigue and boredom overwhelming the hero prevented the beginning of any business - from the banal need to get out of bed to writing a letter to the elder.
Ilya Ilyich does not associate himself with society, which Goncharov vividly portrayed at the beginning of the work, when visitors come to Oblomov. Each guest for the hero is like a cardboard decoration, with which he practically does not interact, putting a kind of barrier between others and himself, hiding behind a blanket. Oblomov does not want to go to visit like others, to communicate with hypocritical and not interesting to him people who disappointed him even during the service - having come to work, Ilya Ilyich hoped that everyone there would be the same friendly family, as in Oblomovka, but faced with a situation where each person is "for himself." Discomfort, lack of ability to find one's social vocation, a feeling of uselessness in the "nebolomov" world leads to the hero's escapism, immersion in illusions and memories of Oblomov's wonderful past.
In addition, the “extra” person always does not fit into his time, rejecting him and acting in defiance of the system dictating to him the rules and values. Unlike those gravitating towards romantic tradition who always strive forward, ahead of their time Pechorin and Onegin, or the character of enlightenment Chatsky, towering over a society mired in ignorance, Oblomov is an image of a realistic tradition, a hero who is not striving in front of, to transformations and new discoveries (in society or in his soul), a wonderful distant future, but focused on the close and important past for him, "Oblomovism".
The love of the "superfluous person"
If in the issue of time orientation Oblomov differs from the “extra heroes” that preceded him, then in love matters their fates are very similar. Like Pechorin or Onegin, Oblomov is afraid of love, afraid of what may change and become different or negatively affect his beloved - up to the degradation of her personality. On the one hand, parting with his beloved is always a noble step on the part of the "extra hero", on the other hand, this is a manifestation of infantilism - for Oblomov it was an appeal to Oblomov's childhood, where everything was decided for him, cared for and allowed everything.
The "superfluous person" is not ready for a fundamental, sensual love for a woman, for him it is not so much a real beloved as a self-created, inaccessible image that is important - we see this both in Onegin's feelings for Tatiana that flared up a year later, and in the illusory, "spring" feelings Oblomov to Olga. A “superfluous person” needs a muse - beautiful, unusual and inspiring (for example, like Bella in Pechorin's). However, not finding such a woman, the hero goes to the other extreme - he finds a woman who would replace his mother and create an atmosphere of distant childhood.
Oblomov and Onegin, unlike at first glance, equally suffer from loneliness in the crowd, but if Eugene does not refuse high life, then for Oblomov the only way out is to immerse himself in himself.
Is Oblomov an extra person?
"The extra man" in Oblomov is perceived by other characters differently than similar characters in previous works. Oblomov - kind, simple, fair man who sincerely wants quiet, calm happiness. He is attractive not only to the reader, but also to the people around him - not in vain, after all, with school years his friendship with Stolz does not stop and Zakhar continues to serve with the master. Moreover, Olga and Agafya sincerely fell in love with Oblomov precisely because of his spiritual beauty dying under the pressure of apathy and inertia.
What is the reason that from the very appearance of the novel in print, critics identified Oblomov as a "superfluous person", because the hero of realism, unlike the characters of romanticism, is a typified image that combines features whole group of people? Depicting Oblomov in the novel, Goncharov wanted to show not one "superfluous" person, but a whole social stratum of educated, wealthy, intelligent, sincere people who could not find themselves in a rapidly changing, new Russian society... The author emphasizes the tragedy of the situation when, unable to change along with the circumstances, such "Oblomovs" slowly die, continuing to hold on tightly to the long-gone, but still important and soul-warming memories of the past.
It will be especially useful for 10 grades to familiarize themselves with the above considerations before writing an essay on the topic "Oblomov and" superfluous people ".
Oblomov and "an extra person" what is common - an essay on the topic |
At the beginning of the 19th century, a number of works appeared in Russian literature, the main problem of which was the conflict between man and society, which brought up his environment. The most outstanding of them were "Eugene Onegin" by A.S. Pushnin and "A Hero of Our Time" M.Yu. Lermontov. This is how a special one is created and developed. literary type- the image of a "superfluous person", a hero who has not found his place in society, is not understood and rejected by the environment. This image changed with the development of society, acquiring new features, qualities, features, until it reached the most vivid and complete embodiment in the novel by I.A. Goncharova "Oblomov".
The work of Goncharov is the story of a hero who does not have the makings of a decisive fighter, but has all the data to be a good, decent person. The writer “wanted to ensure that the casual image that flashed before him was elevated into a type, to give it a generic and permanent meaning,” wrote N.А. Dobrolyubov. Indeed, Oblomov is not a new face in Russian literature, "but before it was not presented to us as simply and naturally as in Goncharov's novel."
Why can Oblomov be called "an extra person"? What are the similarities and differences of this character with his famous predecessors - Onegin and Pechorin?
Ilya Ilyich Oblomov is a weak-willed, sluggish, apathetic nature, divorced from real life: "Lying ... was his normal state." And this feature is the first thing that distinguishes him from Pushkin's and, especially, Lermontov's heroes.
The life of Goncharov's character is rosy dreams on a soft sofa. Slippers and a bathrobe are integral companions of Oblomov's existence and bright, precise artistic details revealing the inner essence and external image Oblomov's life. Living in a fictional world, fenced off by dusty curtains from reality, the hero devotes his time to building unrealizable plans, brings nothing to the end. Any of his undertakings comprehends the fate of the book, which Oblomov had been reading for several years on one page.
However, the inaction of Goncharov's character was not elevated to such an extreme degree as in Manilov's poem by N.V. Gogol " Dead Souls", And, as Dobrolyubov correctly noted," bummers are not stupid, apathetic nature, without aspirations and feelings, but a person is also looking for something in his life, thinking about something ... ".
Like Onegin and Pechorin, Goncharov's hero in his youth was a romantic, thirsty for an ideal, burned out from striving for activity, but, like them, Oblomov's "flower of life" "blossomed and did not bear fruit." Oblomov became disillusioned with life, lost interest in knowledge, realized the futility of his existence both in direct and figuratively“Lay down on the sofa,” believing that in this way he would be able to preserve the integrity of his personality.
So the hero and "lay" life, without bringing any visible benefit to society; "Slept" the love that passed by him. One can agree with the words of his friend Stolz, who figuratively noted that Oblomov's "troubles began with the inability to put on stockings and ended with the inability to live."
Thus, the main difference between Oblomov's “superfluous person” and Onegin's and Pechorin’s “superfluous people” is that the latter denied social vices in action - real deeds and actions (see Onegin's life in the village, Pechorin's communication with the "water society"), while the first "protested" on the sofa, spending his entire life in immobility and inaction. Therefore, if Onegin and Pechorin - " moral cripples”Mostly through the fault of society, then Oblomov - mainly through the fault of his own apathetic nature.
In addition, if the type of "superfluous person" is universal and characteristic not only for the Russian, but also foreign literature(B. Constant, A. de Musset, etc.), then, considering the features of the social and spiritual life of Russia in the 19th century, it can be noted that Oblomovism is a purely Russian phenomenon, generated by the reality of that time. It is no coincidence that Dobrolyubov saw Oblomov as "our indigenous, folk type."
So, in the novel by I.A. Goncharov's "Oblomov" the image of the "superfluous person" receives its final embodiment and development. If in the works of A.S. Pushkin and M.Yu. Lermontov reveals the tragedy of one human soul, which has not found its place in society, Goncharov depicts a whole phenomenon of Russian social and spiritual life, called "Oblomovism" and absorbing the main vices of one of characteristic types noble youth of the 50s of the XIX century.
Other works on the topic:
I.A.Goncharov in his novel explores human nature, and if in the images of Oblomov and Stolz we find, as it were, two extremes (cordiality, but passivity and activity to the detriment of the soul), then in the image of Olga Ilyinskaya, from my point of view, not only the best features of a Russian woman, but also all the best that the writer saw in a Russian person.
Love is the strongest human feeling played a big role in life. Oblomov. The love of two women, one smart, refined, tender, demanding, the other, an economic, simple-minded host of the hero as he is.
Oblomov's image consists, as it were, of parts. There is Oblomov, a moldy, almost ugly, greasy, unwieldy piece of meat. There is Oblomov in love with Olga Oblomov who is deeply touching and sympathetic in his sad comic.
In the center of the novel. Goncharova Oblomov complex and controversial image landlord. Ilya Ilyich Oblomov. The first part of the novel depicts the seemingly most obvious features of his personality: laziness, lack of will, contemplation.
I want to write about two women who played a huge role in the life of one person. This person. Ilya Ilyich Oblomov is the protagonist of the novel by I.A.Goncharov and one of my favorite literary characters.
Autumn evening. No one is home, and I'm reading Goncharov's novel. Still a strange hero - Ilya Ilyich Oblomov. He patiently endures all the blows of fate, resigns himself to the constant lack of crops in the village and the laziness of Zakhar, to the fact that he is constantly deceived, robbed, abused by his inherent kindness. He does not seek to achieve wealth, fame, position in society.
The main task of his novel "Oblomov" Goncharov considered the search for a truly human "norm" of being, lost in modern world, and a hero who meets this "norm." But the peculiarity of the embodiment of this author's intention was that the “artistic ideal” of the personality turns out to be unattainable. It seems to split into two parts, two main images - Oblomov and Stolz, which are depicted on the basis of the principle of antithesis.
The plot and composition of Oblomov's novel Oblomov's novel Oblomov is strictly and distinctly subordinate to the division of the Russian calendar into four seasons. This is evidenced by the composition of Goncharov's masterpiece. The events taking place in it begin in the spring of May 1. The most violent action takes place in the summer - the love of Oblomov and Olga.
Undoubtedly, for the solution of that artistic task, which Goncharov put before himself in the novel Oblomov, needed not just a beautiful and intelligent woman, but a woman whose image would be as close to the ideal as possible. The author did just that: Olga in her development represents the highest ideal that only a Russian artist could evoke from that Russian life.
Andrei Stolts is Oblomov's closest friend, they grew up together and carried their friendship through life. It remains a mystery how so unlike people with such different outlooks on life could maintain deep affection.
Oblomov's personality is far from ordinary, although other characters treat him with slight disrespect. For some reason, they read it almost flawed in comparison with them. This was precisely the task of Olga Ilyinskaya - to wake Oblomov, to make him show himself as an active person.
Oblomov's image in Russian literature closes the row of "superfluous" people. An inactive contemplator, incapable of active action, at first glance really seems incapable of a great and bright feeling, but is this really so? In the life of Ilya Ilyich Oblomov, there is no place for global and cardinal changes.
Roman I.A. Goncharov's "Oblomov" permeates pathos social criticism... The clash of two heroes (Ilya Oblomov and Andrei Stolts), two opposite ways of life can be viewed in a broad public sense.
A person is largely shaped by childhood. Hence the meaning of "Oblomov's Dream" in the novel. It is no coincidence that Goncharov called it "the overture of the entire novel." Yes, this is the key to the whole work, the solution to all its secrets.
Mini-composition "Oblomov and his entourage" Author: Goncharov I.А. Oblomov is backwardness that hinders historical progress. Oblomov is sincere, gentle, his conscience is not lost; subjectively, he is not capable of doing evil. Story line depicts the spiritual desolation of the hero, there is lordship and slavery in him - he is a slave to his sofa, laziness.
The image of Oblomov is the greatest creation of I.A.Goncharov. This type of hero, in general, is not new to Russian literature. We meet with him in the comedy "Lazy" by Fonvizin, and in Gogol's "Marriage". But the most complete and multifaceted embodiment of it was the image of Oblomov from eponymous novel Goncharova.
The first impression that the hero of I. Goncharov's novel Oblomov makes on the reader is the impression of laziness, immobility, and boredom.
Oblomov's Dream is a special chapter of the novel. "Oblomov's Dream" tells about the childhood of Ilya Ilyich, about his influence on Oblomov's character. In "Oblomov's Dream" his home village Oblomovka, his family, according to which they lived in the Oblomov estate. Oblomovka is the name of two villages owned by the Oblomovs.
The reasons that prompted Oblomov to write a letter to Olga. How Oblomov appears to readers in his letter.
Before you start your discussion on the topic: do Russia need the Oblomovs? I want to tell you about I.S. Goncharov and his great work. I.S. Goncharov is a writer of the second half of the 19th century.
Goncharov began writing his novel Oblomov in 1846. At this time, Russia was a feudal serf country. The oppression of the serfs reached its limits.
The novel "Oblomov" was created on the eve of the peasant reform, in 1859. main idea is to show the pernicious influence of serfdom on the life of peasants and landowners. We see this very influence on the example of one landowner Oblomov.
Did Oblomov ever have a clarification in his life? And not just once. Love revived him to life. The love of two women - one: refined, gentle, graceful, and the other: economic, simple-minded, sincere. Who can understand Ilya Oblomov?
The image of Oblomov is the greatest artistic generalization that embodies the typical character traits generated by the Russian patriarchal landlord life.
"Oblomov's Dream" is a magnificent episode of Goncharov's novel Oblomov. In my opinion, a dream is nothing more than an attempt by Goncharov himself to understand himself; not the essence of Oblomov and Oblomovism.
A miracle happened: a man was born. Who will he be? Will it benefit society? Will you be happy? So far no one knows this ... A miracle happened: they raised a Man from a man. What was laid down by nature: a golden heart, the ability to experience strong feelings, kindness, but at the same time laziness, remained.
What are life ideals Stolz? (based on the novel by IA Goncharov "Oblomov") Author: Goncharov IA In IA Goncharov's novel Oblomov, Andrei Stolts is the opposite of Oblomov. Every feature of Stolz is a blatant protest against the qualities of Oblomov. The first loves active and interesting life, the second often falls into apathy, he is like a snail that is afraid to crawl out of the shell.
Problems of the novel by I. A. Goncharov "Oblomov" Author: Goncharov I.А. Oblomov was published in Otechestvennye zapiski starting in January 1859, in parts, over a period of four months, and caused a stormy response from criticism. In Dobrolyubov's article "What is Oblomovism?" the problematic of the novel was considered in sociological terms, Oblomov's ting was interpreted as the embodiment of all the class vices of the nobility, while the philosophical aspect of Oblomov was left without consideration.
Plot antitheses in the novel "Oblomov" Author: Goncharov I.А. 1. Oblomov - Stolz. 2. Oblomov - Olga Ilyinskaya Stolz - not positive hero of the novel, his activity sometimes resembles the activity of Sudbinsky from the despised Stolz of Oblomov's Petersburg entourage: to work, work, once again work like a machine, without rest, entertainment and hobbies.
Oblomov is contrasted in the novel by Andrei Stolts. Initially, he was thought of by Goncharov as a positive hero, worthy of the antipode of Oblomov. The author dreamed that over time, many "Stolts will appear under Russian names."
An essay on whether Oblomov and Stolz, the main characters of Goncharov's novel Oblomov, should be re-educated. The author comes to the conclusion that the way of life is his purely personal affair and re-educating Oblomov and Stolz is not only useless, but also inhumane.
(Based on one of the works of the Russian literature XIX century) ... at the base of Oblomov's nature lay a pure and kind beginning, full of deep sympathy for everything that is good and that only opened up and responded to the call of this ... heart.
Oblomov and "extra people".
Plan.
Gallery of extra people
Attributes of "extra people" The origins of the origin of "Oblomovism"
Real-fabulous life
Possible happiness and Olga Ilyinskaya
Conclusion. Who is to blame for Oblomovism?
Goncharov's novel Oblomov continues the gallery of works in which heroes are described that are superfluous for the whole world and for themselves, but not superfluous for the passions boiling in their souls. Oblomov, the protagonist of the novel, following Onegin and Pechorin, goes through the same thorny path of life disappointments, tries to change something in the world, tries to love, make friends, maintain relationships with acquaintances, but he does not succeed in all this. In the same way, life did not work out for Lermontov's and Pushkin's heroes. And the main characters of all these three works, "Eugene Onegin", "A Hero of Our Time" and "Oblomov", are also similar - pure and bright creatures who could not stay with their beloved. Is it possible that a certain type of man is attracted to a certain type of woman? But why, then, are such worthless men attracted to such beautiful women? And, in general, what are the reasons for their worthlessness, were they really born that way, or is it a noble upbringing, or is the time to blame for everything? We will also try, using Oblomov's example, to grasp the essence of the problem of “extra people” and try to answer the questions posed.
With the development of the history of "extra people" in literature, a kind of attributes, or things, objects, which must be present in every such "extra" character, have been developed. Oblomov has all these accessories: a dressing gown, a dusty sofa and an old servant, without whose help he seemed to die. Maybe that's why Oblomov does not go abroad, because there are only "girls" in servants who do not know how to remove boots from a master. But where did all this come from? It seems that the reason must first of all be sought in the childhood of Ilya Ilyich, in that pampered life that the landowners of that time led and in that inertia that was instilled from childhood: “his mother, having fondled him again, let him go for a walk in the garden, in the yard, in the meadow , with strict confirmation to the nanny not to leave the child alone, not to allow him to the horses, dogs, to the goat, not to go far from home, and most importantly, not to let him into the ravine, as the most terrible place in the neighborhood, which enjoyed a bad reputation. " And, having become an adult, Oblomov also does not allow himself either to horses, or to people, or to the whole world. Why it is in childhood that it is necessary to look for the roots of such a phenomenon as "Oblomovism" is clearly seen when comparing Oblomov with his childhood friend, Andrei Stolts. They are of the same age, and of the same social status, but like two different planets colliding in space. Of course, all this can be explained only by the German origin of Stolz, however, how then to be with Olga Ilyinskaya, a Russian young lady, who in her twenty years was much more purposeful than Oblomov. And the point here is not even age (Oblomov at the time of the events is about 30 years old), but again in upbringing. Olga grew up in her aunt's house, not restrained either by the strict instructions of her elders, or by constant affection, and she learned everything herself. Therefore, she has such an inquiring mind and desire to live and act. After all, in childhood there was no one who would take care of her, hence the sense of responsibility and the inner core, which does not allow deviating from their principles and way of life. Oblomov, on the other hand, was raised by the women of his family, and this is not his fault, but somewhere the fault of his mother, her so-called selfishness in relation to her child, a life filled with illusions, goblin and brownies, and maybe that was everything society, in these pre-construction times. "The adult Ilya Ilyich, although later he learns that there are no honey and milk rivers, there are no good sorceresses, although he jokes with a smile over the nanny's tales, this smile is not sincere, it is accompanied by a secret sigh: his fairy tale has mixed with life, and he sometimes unconsciously sad, why a fairy tale is not life, and life is not a fairy tale ”.
Oblomov remained to live in fairy tales told by the nanny, and was never able to plunge into real life, because real life, it is mostly black and gone, and people living in fairy tales have no place in it, because in in real life, everything happens not by magic, but only by human will. Stolz says the same thing to Oblomov, but he is so blind and deaf, so captured by petty passions raging in his soul that sometimes he does not even understand his best friend: “Well, brother Andrey, you are the same! There was one sensible man, and he went crazy. Who goes to America and Egypt! The British: so they are so arranged by God; and they have nowhere to live at home. Who will go with us? Is it a desperate one who doesn't care about life. " But Oblomov himself doesn't care about life. And he is too lazy to live. And it seems that only love, a big and bright feeling, can revive him. But we know that this did not happen, although Oblomov tried very hard.
At the beginning of the emergence of relations between Oblomov and Olga Ilyinsky, we also have a hope that “happiness is possible,” and, indeed, Ilya Ilyich is simply transformed. We see him in the bosom of nature, in the country, far from the dusty bustle of the capital, and from the dusty sofa. He is almost like a child, and this village reminds us so much of Oblomovka, when Ilya Ilyich's mind was still childish and inquisitive, and when the infection of Russian spleen had not yet had time to creep into his body and soul. Probably, in Olga he found his early dead mother and just as unquestioningly began to obey her, and he was also happy that he took patronage over him, because he himself had not learned to manage his life. But love for Olga is another fairy tale, the truth invented by him this time, although he wholeheartedly believes in it. A “superfluous person” is not able to cultivate this feeling, because it is also superfluous for him, just as he is superfluous for the whole world. However, Oblomov does not lie, confessing his love to Olga, because Olga is indeed a “fairytale” character, because only a fairy from a fairy tale can fall in love with a person similar to him. How many wrong things Oblomov does - this is the letter he invented at night, this is the constant fear that they will gossip about them, this is an endlessly drawn-out business with the wedding arrangement. Circumstances are always higher than Oblomov, and a person who is unable to control them will certainly slide into a lack of understanding, despondency and blues. But Olga is patiently waiting for him, her patience can only be envied, and, finally, Oblomov himself decides to break off the relationship. The reason is very stupid and not worthwhile, but such is Oblomov. And this is probably the only act in his life that he could decide on, but the act is stupid and ridiculous: “Who cursed you, Ilya? What did you do? You are kind, smart, gentle, noble ... and ... you are perishing! What killed you? There is no name for this evil ... - Yes, - he said, barely audibly. She looked inquiringly at him with tearful eyes. - Oblomovism! " This is how one phenomenon ruined the whole life of a person! However, do not forget that it was he, this person, who gave birth to this phenomenon. It did not grow out of nowhere, it was not brought in like a disease, it was carefully cultivated, cared for and cherished in the heart of our hero, and took such strong roots that it is no longer possible to pull it out. And when instead of a person we see only this phenomenon, wrapped in an outer shell, then such a person really becomes “superfluous” or ceases to exist altogether. That's how Oblomov quietly dies in the house of the widow Pshenitsyna, the same phenomenon instead of a person.
I would like to think that society is still to blame for Oblomov's weak-willed existence, because he lives in a quiet and calm time, free from shocks, uprisings and wars. Maybe his soul is just calm, because there is no need to fight, worry about the fate of the people, his safety, the safety of his family. At such a time, many people are simply born, live and die, just like in Oblomovka, because time does not require deeds from them. But we can say with confidence that if danger had arisen, Oblomov would not under any guise go to the barricades. This is his tragedy. And how then to be with Stolz, he is also a contemporary of Oblomov and lives with him in the same country and in the same city, however, his whole life is like a small feat. No, Oblomov himself is to blame, and this makes it even more bitter, because in fact he is a good person.
But such is the fate of all "superfluous" people. Unfortunately, it is not enough to be just a good person, you also need to fight and prove it, which Oblomov, unfortunately, could not do. But he became an example for people of that time and today, an example of who you can become if you are not able not only to manage the events of life, but also yourself. They are "superfluous", these people, they have no place in life, because it is cruel and merciless first of all towards the weak and the weak, and because one must always fight for a place in this life!
Bibliography
For the preparation of this work were used materials from the site easyschool.ru/