Extra people in the novel are a bummer. Essay “Can a good person be “superfluous”? (2). What things have become a symbol of Oblomovism?

Sections: Literature

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

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

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

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

What could be interesting about a couch potato? When the name Ilya Oblomov is pronounced, significant additions appear in the imagination: a sofa and a robe, which, like a slave, obeyed the movement of the body. Let's follow the author and take a closer look at the facial features of his hero. “ It was a man ... of pleasant appearance, with dark gray eyes that wandered carelessly along the walls, along the ceiling, with that vague thoughtfulness that shows that nothing occupies him, nothing worries him. The carelessness passed from the face into the poses of the whole body, even into the folds of the dressing gown.…Color Ilya Ilyich’s face was neither ruddy, nor dark, nor positively pale, but indifferent... If a cloud of concern came over his face from the soul, his gaze became foggy..." But in Oblomov’s entire appearance, “the soul shone openly and clearly.” This bright soul conquers the hearts of two women: Olga Ilyinskaya and Agafya Matveevna Pshenitsyna. The light of his soul also attracts Andrei Stolts, who, having traveled around Europe, specially comes to sit on Oblomov’s wide sofa and calm his soul in conversation with him. There has never yet been a hero in Russian literature who does not leave the couch for eleven chapters. Only the arrival of Stolz brings him to his feet.

In the first chapters, the author introduces us to Oblomov’s visitors; we see that our hero has many guests. Volkov ran in to show off his new tailcoat and his new love, he was happy about both, and it’s hard to say what more, he had a whole day full of visits, and among the visits was a visit to Oblomov. Sudbinsky, a former colleague, comes to boast about his promotion (“ I'm having lunch at the lieutenant governor's”, a quick profitable marriage. Penkin asks to go on a walk with him, because... he needs to write an article about the party, “ together We will observe, if I didn’t notice, you would tell me" Alekseev and Tarantiev – “ two Oblomov's most zealous visitors" - went to see him " drink, eat, smoke good cigars" It is no coincidence that the author describes Oblomov’s guests in the second chapter, immediately after introducing the reader to the main character and his servant. He compares the hero with his acquaintances, and it seems that the author’s sympathies are on the side of Ilya Oblomov: in his human qualities he is better than the guests, he is generous, condescending, and sincere. And the fact that he does not serve in a government agency, I.A. Goncharov explains that his hero does not need to earn his daily bread: “ he has Zakhar and three hundred more Zakharovs”.

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

A very interesting statement by M.M. Prishvin regarding Oblomov: “...his peace conceals within itself a request for the highest value, for such activity, because of which it would be worth losing peace.”

Chatsky, Onegin, Pechorin, Oblomov are images of talented, bright, intelligent people, but their fate is tragic, and this brings them together. For some reason, at turning points in life, it is precisely such people who turn out to be unnecessary to society, it seems to “squeeze out” them, does not need their intelligence, talent, there is no place for them in society.

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

Studying the novel by I.A. Goncharov in the 10th grade is natural, because At this time, the teenager is faced with the problem of choosing a life path.

Summary of a literature lesson in 10th grade

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

(exposure analysis)

Lesson objectives:

• Cognitive: compose a characterization of the hero; trace the techniques for creating an image; expressive means by which the image is created; highlight plot elements using the example of the first chapter of a novel.

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

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

During the classes

1. Repetition.

Remember what the characteristics of a hero include (indirect and direct).

2. Reading and analysis of the first chapter of the novel “Oblomov”.

Extracts, their systematization.

– What can be noted in the first chapter?

- The author's skill. We read the first sentence of the first chapter: “ In Gorokhovaya Street, in one of the large houses, the population of which would be equal to the entire county town, Ilya Ilyich Oblomov was lying in bed in his apartment in the morning.”

The first sentence contains seven pieces of information:

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

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

Portrait of a hero.

The author himself gives a description of the portrait of his hero; he does not trust anyone's eyes. The portrait uses many expressive means. These are unexpected epithets: complexion indifferent, uncertain thoughtfulness, cold Human. These are personifications: with eyes, walking carelessly along the walls; from the face carelessness passed into full body poses; neither tiredness nor boredom could not not for a minute drive away softness from the face. The author used metaphors for the portrait of his hero: running onto his face cloud of worries, began game of doubt. The transfer of natural phenomena to humans was also used: the look was foggy.

What stands out in the description of appearance? “How did Oblomov’s home suit go to to the calm features of his face and to his pampered body! He was wearing a robe, a real oriental robe...which, like an obedient slave, obeys the slightest movement of the body...Shoes on they were long, soft and wide; when he, without looking, lowered his legs from the bed to the floor, then he certainly fell into them right away" Ilya Ilyich Oblomov “ loved the space and freedom”.

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

• So as not to clean up.
• The hero practically does not move.
• We can calmly examine it.

What was in the room?

• Mahogany Bureau.
• Two sofas, the back of one sofa sank down.
• Beautiful screens with embroidered birds and fruits unprecedented in nature.
• Silk curtains, carpets, several paintings, bronze, porcelain and many beautiful little things.
• Ungraceful mahogany chairs, rickety bookcases.

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

One thing that stands out about the interior is that it is very detailed, there are a lot of details. Goncharov called himself a draftsman. V.G. Belinsky noted: “He is carried away by his ability to draw.” A.V. Druzhinin writes: “Like the Flemings, Goncharov is national, poetic in the smallest details, like them, he puts before our eyes the whole life of a given era and a given society.”

What do the descriptions of Goncharov and the still lifes of Dutch artists have in common? – Even small details are drawn.
Why can you compare them? – Each piece is masterfully executed.

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

I.A. Goncharov uses many details when describing, achieving the verisimilitude of the picture.

The hero's actions.

• If he wants to get up and wash, he will have time after tea, you can drink tea in bed, nothing prevents you from thinking while lying down.
• He rose and almost stood up, and even began to lower one leg from the bed, but he immediately picked it up.
• About a quarter of an hour passed - well, it’s enough to lie down, it’s time to get up.
• “I’ll read the letter, then I’ll get up.”
• “It’s already eleven o’clock and I haven’t gotten up yet.”
• He turned on his back.
• Call. He lies down and looks curiously at the doors.

What is special about Oblomov’s behavior?– Thought is extinction, desire is extinction.

Attitude to life.

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

What can you say about the author’s attitude towards his hero? In what ways is this revealed? Here he wakes up in the morning, “ and the mind has not yet come to the rescue”. “However, it is necessary to give justice to Ilya Ilyich’s care for his affairs. Based on the first unpleasant letter from the headman, received several years ago, he had already begun to create in his mind a plan for various changes" The author makes fun of his hero using the technique of irony.

• Description (portrait, appearance, interior).
• Focus on details.
• Irony.
• Complementing one image with another (Zakhar looks like his owner).
• Reception of extinction.
• Identification of typical features (Goncharov’s hero is immediately similar to both Manilov and someone very familiar from our lives).

3. Homework.

“...a cold beauty who maintains her character.” (Page 96)

“What should he do now? Go forward or stay? This Oblomov question was deeper for him than Hamlet’s.”(Page 168)

“This is some kind of forge, not life; there is always flames, chatter, heat, noise, ... when"

• I.I. Oblomov is a hero of his time, but also of our time. “As long as there is at least one Russian left, Oblomov will be remembered” (V.G. Belinsky). Your thoughts on this matter.
• Oblomov is “worth boundless love,” his creator himself is devoted to Oblomov, all the characters in the novel adore him (Stolz, Olga Ilyinskaya, Agafya Matveevna, Zakhar). For what?
• Read the second chapter. Compare Oblomov with his visitors.
• Read Oblomov’s letter to Olga Ilyinskaya (second part, chapter IX, pp. 221–223). What can be added to Oblomov’s characterization, judging by this letter?
• As you read, make notes of phrases you like.

Tenth graders wrote down the following phrases from I.A. Goncharova:

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

Literature:

I.A. Goncharov. Selected works. – M.: Fiction, 1990 – 575 pp. (Teacher’s book).

Goncharov I. A.

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

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

Goncharov's work is the story of a hero who does not have the makings of a determined fighter, but has all the data to be a good, decent person. The writer “wanted to ensure that the random image that flashed before him was elevated to a type, giving it a generic and permanent meaning,” wrote N.A. Dobrolyubov. Indeed, Oblomov is not a new face in Russian literature, “but before it was not presented to us as simply and naturally as in Goncharov’s novel.”

Why can Oblomov be called a “superfluous man”? What are the similarities and differences between this character and his famous predecessors - Onegin and Pechorin?

Ilya Ilyich Oblomov is a weak-willed, lethargic, apathetic nature, divorced from real life: “Lying... was his normal state.” And this feature is the first thing that distinguishes him from Pushkin’s and, especially, Lermontov’s heroes.

The life of Goncharov's character is rosy dreams on a soft sofa. Slippers and a robe are integral companions of Oblomov's existence and bright, precise artistic details that reveal Oblomov's inner essence and outer lifestyle. Living in an imaginary world, fenced off by dusty curtains from real reality, the hero devotes his time to making unrealistic plans and does not bring anything to fruition. Any of his undertakings suffers the fate of a book that Oblomov has been reading for several years on one page.

However, the inaction of Goncharov’s character was not raised to such an extreme degree as that of Manilov from the poem by N.V. Gogol’s “Dead Souls”, and, as Dobrolyubov correctly noted, “Oblomov is not a stupid, apathetic nature, without aspirations and feelings, but a person also looking for something in his life, thinking about something...”.

Like Onegin and Pechorin, Goncharov’s hero in his youth was a romantic, thirsting for an ideal, burning with the desire for activity, but, like them, Oblomov’s “flower of life” “bloomed and did not bear fruit.” Oblomov became disillusioned with life, lost interest in knowledge, realized the futility of his existence, and literally and figuratively “lay down on the sofa,” believing that in this way he could preserve the integrity of his personality.

So the hero “laid away” his life, without bringing any visible benefit to society; “slept through” the love that passed him by. One can agree with the words of his friend Stolz, who figuratively noted that Oblomov’s “troubles began with the inability to put on stockings and ended with the inability to live.”

Thus, the main difference between the “superfluous man” of Oblomov and the “superfluous people” of Onegin and Pechorin 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 one “protested” on the sofa, spending his entire life in immobility and inaction. Therefore, if Onegin and Pechorin are “moral cripples” largely due to the fault of society, then Oblomov is mainly due to the fault of his own apathetic nature.

In addition, if the type of “superfluous person” is universal and characteristic not only of Russian, but also foreign literature (B. Consgan, L. de Musset, etc.), then, considering the features of the social and spiritual life of Russia in the 19th century, it can be noted that that Oblomovism is a purely Russian phenomenon, generated by the reality of that time. It is no coincidence that Dobrolyubov saw in Oblomov “our indigenous, folk type.”

So, in the novel by I.A. Goncharov’s “Oblomov”, the image of the “superfluous man” receives its final embodiment and development. If in the works of A.S. Pushkin and M.Yu. Lermontov reveals the tragedy of one human soul that has not found its place in society, while Goncharov depicts an entire phenomenon of Russian social and spiritual life, called “Oblomovism” and incorporating the main vices of one of the characteristic types of noble youth of the 50s of the 19th century.

Oblomov and “extra people”.

Plan.

Gallery of extra people

Attributes of “superfluous people” The origins of “Oblomovism”

Real-fairy-tale life

Possible happiness and Olga Ilyinskaya

Conclusion. Who is to blame for “Oblomovism”?

Goncharov’s novel “Oblomov” continues the gallery of works that describe heroes who are superfluous to the whole world and to themselves, but not superfluous to the passions boiling in their souls. Oblomov, the main character of the novel, following Onegin and Pechorin, goes through the same thorny path of life's 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. Just like life didn’t work out for Lermontov’s and Pushkin’s heroes. And the main heroines of all these three works, “Eugene Onegin”, “Hero of Our Time” and “Oblomov”, are also similar - pure and bright creatures who were never able to stay with their lovers. Perhaps a certain type of man attracts a certain type of woman? But why then do such worthless men attract such beautiful women? And, in general, what are the reasons for their worthlessness, were they really born this way, or is it a noble upbringing, or is time to blame? Using Oblomov’s example, we will try to understand the essence of the “extra people” problem and try to answer the questions posed.

With the development of the history of “extra people” in literature, a kind of paraphernalia, or things, objects, which must be present for each such “extra” character, was developed. Oblomov has all these accessories: a dressing gown, a dusty sofa and an old servant, without whose help it seemed he would die. Maybe that’s why Oblomov doesn’t go abroad, because there are only “girls” as servants who don’t know how to properly remove the master’s boots. 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 the pampered life that the landowners of that time led and in the inertia that was instilled from childhood: “the mother, after petting him, let him walk in the garden, around the yard, in the meadow , with strict confirmation to the nanny not to leave the child alone, not to allow him near horses, dogs, goats, not to go far from the house, and most importantly, not to let him into the ravine, as the most terrible place in the area, which had a bad reputation.” And, having become an adult, Oblomov also does not allow himself to be near 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 visible when comparing Oblomov with his childhood friend, Andrei Stolts. They are the same age and the same social status, but like two different planets colliding in space. Of course, all this can only be explained by Stolz’s German origin, however, what then to do with Olga Ilyinskaya, a Russian young lady who, at twenty years old, was much more purposeful than Oblomov. And it’s not even about age (Oblomov was about 30 years old at the time of the events), but again about upbringing. Olga grew up in her aunt’s house, not restrained by the strict orders of her elders or constant affection, and learned everything herself. That's why she has such an inquisitive 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 that does not allow her to deviate from her principles and way of life. Oblomov 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 towards her child, a life filled with illusions, goblins and brownies, and maybe that was all society in these pre-Moscow times. “Although the adult Ilya Ilyich later learns that there are no honey and milk rivers, no good sorceresses, although he jokes with a smile at his nanny’s stories, this smile is not sincere, it is accompanied by a secret sigh: his fairy tale is mixed with life, and he sometimes unconsciously sad, why is a fairy tale not life, and why is life not a fairy tale?

Oblomov remained living in fairy tales told by his nanny, and was never able to plunge into real life, because real life, for the most part, is black and vulgar, and people living in fairy tales have no place in it, because in 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 the petty passions raging in his soul, that sometimes he doesn’t even understand his best friend: “Well, brother Andrei, you are the same! There was one smart man, and he went crazy. Who goes to America and Egypt! The English: that’s how God made them; and they have nowhere to live at home. Who will go with us? Is it some desperate person who doesn’t care about life?” But Oblomov himself doesn’t care about life. And he’s 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 the relationship between Oblomov and Olga Ilyinskaya, the hope that “happiness is possible” also arises in us, and, indeed, Ilya Ilyich is simply transformed. We see him in the lap 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 take root in his body and soul. Probably, in Olga he found his early deceased mother and just as unquestioningly began to obey her, and was also happy that she took patronage over him, because he never learned to manage his life himself. But love for Olga is another fairy tale, a truth invented this time by himself, although he wholeheartedly believes in it. The “superfluous person” is not able to grow this feeling, because it is also superfluous for him, just as he is superfluous for the whole world. However, Oblomov does not lie when he confesses his love to Olga, for Olga is indeed a “fairy-tale” character, because only a fairy from a fairy tale can fall in love with a person like him. How many wrong things Oblomov does - this is the letter he invented at night, this is the constant fear that people will gossip about them, this is the endlessly drawn-out matter with arranging the wedding. Circumstances are always higher than Oblomov, and a person who is unable to control them will certainly slide into the abyss of misunderstanding, despondency and blues. But Olga patiently waits for him, one can only envy her patience, and, finally, Oblomov himself decides to break off the relationship. The reason is very stupid and not worthwhile, but that’s Oblomov. And this is probably the only action in his life that he could decide to do, but the action is stupid and absurd: “Who cursed you, Ilya? What did you do? You are kind, smart, gentle, noble... and... you are dying! What ruined you? There is no name for this evil... “There is,” he said barely audibly. She looked at him questioningly, her eyes full of tears. - Oblomovism!” This is how one phenomenon ruined a person’s entire life! However, we should not forget that it was he, this man, who gave birth to this phenomenon. It did not grow out of nowhere, it was not brought in like a disease, it was carefully nurtured, groomed and cherished in the soul 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. This is how Oblomov dies quietly 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 such a weak-willed existence of Oblomov, because he lives in a quiet and calm time, free from shocks, uprisings and wars. Maybe his soul is simply at peace, because he doesn’t have 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 heroic deeds from them. But we can say with confidence that even if danger arose, Oblomov would not, under any circumstances, go to the barricades. This is his tragedy. And what then to do 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 worse, because in essence he is a good person.

But such is the fate of all “extra” people. Unfortunately, it is not enough to just be a good person, you also need to fight and prove it, which Oblomov, unfortunately, was unable to do. But he became an example for people then and today, an example of what you can become if you are not able not only to control 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, to the weak and infirm, and because one must always fight for a place in this life!

Bibliography

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