Why Romashov is an extra person. Composition on the topic: An extra person in Russian literature

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

It is believed that the concept of "extra person" was first used by I.S. Turgenev, who wrote the "Diary extra person". However, A.S. Pushkin in the draft version of the VIII chapter of "Eugene Onegin" wrote about his hero: "Onegin is worth something superfluous." In my opinion, the “extra person” is an image that is typical for the work of many Russian writers and poets of the 19th century. Each of them rethought it in accordance with the spirit of their time. At the same time, the “extra person” was not the fruit creative imagination- his presence in Russian literature testified to spiritual crisis in certain strata of Russian society.

Any high school student, answering the question of which of the heroes of Russian literature fits the definition of "an extra person", will name Eugene Onegin and Grigory Pechorin without hesitation. Undoubtedly, both of these characters are the brightest representatives camps of "superfluous" people. Looking at them more closely, we can answer the question: who is he - an extra person?

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

Very soon he begins to understand that his life is empty, that nothing is worth behind the “external tinsel”, and slander and envy reign in the world. Onegin is trying to find an application for his abilities, but the lack of need for work leads to the fact that he does not find something to his liking. The hero moves away from the world, leaves for the village, but here the same melancholy overtakes him. The love of sincere, not spoiled by the light of Tatyana Larina does not cause in him any mental movements. Out of boredom, Onegin courts Olga, which causes the jealousy of his random friend Lensky. Everything, as you know, ends tragically.

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

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

Onegin and Pechorin are separated by only ten years, but what! .. Pushkin began writing his novel before the Decembrist uprising, and finished at a time when society had not yet fully comprehended the lessons of this event. Lermontov "sculpted" his Pechorin during the years of the most severe reaction. Perhaps it is for this reason that what is only outlined in Onegin's character develops completely in Pechorin. So, if Onegin does not even realize that he brings misfortune to the people around him, then Pechorin is well aware that there is no good for people from his actions. He is the culprit in the death of Grushnitsky, because of him the Circassian Bela dies. He provokes (albeit unwittingly) the death of Vulich, because of him Princess Mary Ligovskaya is disappointed in life and love.:..

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

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

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

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

And again he remained, arrogant,

Alone, as before in the universe.

The main features of the "superfluous person" were developed in the characters of the heroes of Turgenev, Herzen, Goncharov. I think that even today these images are interesting for us as characters that have not disappeared from reality to this day. For example, Zilov from the play by Alexander Vampilov seems to me to be “an extra person” duck hunting". In my opinion, sometimes it does not hurt to compare yourself with such people - this helps to straighten your own character (get rid of selfishness) and, in general, better understand life.

Almost simultaneously with people like Chatsky in Russian society, new type, new hero time, which became dominant in the post-Decembrist era. This type of person light hand Belinsky is usually called the type of "superfluous person". In Russian literature, a long line of such heroes is built: Onegin, Pechorin, Beltov, Rudin, Oblomov and some others. The named characters have common features, and differences. To general properties type refers primarily to the origin: all the named heroes are nobles, and wealthy enough so that they do not have to earn a living. Secondly, these are outstanding people, gifted by nature with intelligence, talent, and soul. They don't fit into ordinary life the nobility of their time, are burdened by an aimless and meaningless life and try to find a business for themselves that would allow them to open up. But thirdly, all the heroes different reasons and remain "superfluous", their richly gifted natures do not find application in society. Belinsky believed that society, its social and political organization, is to blame for the appearance of "superfluous people", since an autocratic-feudal state does not need people with feeling, intelligence, initiative. Dobrolyubov noted the other side of the problem - the subjective one: the heroes themselves carry such properties that exclude their fruitful activity for the benefit of society: they, as a rule, are weak-willed, not accustomed to work, spoiled by an idle life and laziness, and therefore prefer to indulge in dreams, rather than be taken energetically to some useful work. Looking away from social meaning type of "extra people", you can see one more important feature similarities between them: all of them, one way or another, are looking for their destiny, they are tormented by their inaction, but they can’t do anything, because they don’t know for sure what to act for. For the most part, these are more or less tragic characters, people who have not found their happiness, although the features of the comic are increasingly showing through in their evolution, which is clearly seen, for example, in the image of Oblomov.

Despite the similarity, these characters are still different, and the general state of dissatisfaction for all is caused by not quite the same reasons and each has a peculiar coloring. So, Onegin - the most probably tragic figure - experiences cold boredom and "spleen". Fed up with secular life, tired of love adventures, not finding anything good in the countryside, cut off from national roots, he no longer seeks the meaning of existence, the goal in life, because he is firmly convinced that there is no such goal and cannot be, life is initially meaningless and its essence is boredom and satiety. Onegin, “having killed a friend in a duel, / Having lived without a goal, without labor / Until the age of twenty-six, / Languishing in idleness of leisure / Without service, without a wife, without work, / He did not know how to do anything.” Onegin's "Russian blues" is a heavy "few voluntary cross". He is not, contrary to Tatyana's opinion, a "parody", no, his feeling of disappointment is sincere, deep and hard for himself. He would be glad to wake up to an active life, but he cannot, at twenty-six years old feeling like a deep old man. It can be said that Onegin always balances on the verge of suicide, but this exit was ordered to him by the same laziness, although, no doubt, he would have met death with relief. In the person of Onegin, we have before us the tragedy of a man who can still do everything, but no longer wants anything. And “... he thinks, clouded with sadness: Why am I not wounded by a bullet in the chest? Why am I not a frail old man, Like this poor farmer? Why, as a Tula assessor, I am not paralyzed? Why don't I feel even rheumatism in my shoulder? - ah, creator, I am young, life is strong in me; what should I expect? melancholy, melancholy!..” (“Excerpts from Onegin's Journey”).

Not at all - Lermontov's Pechorin. Like the lyrical hero of Lermontov's poetry, Pechorin passionately wants to live, but it is to live, and not to vegetate. To live is to do something great, but what exactly? And one goal does not seem indisputable to Pechorin, any value raises doubts. Throwing Pechorin is, in fact, a search for something that the hero himself, with a clear conscience, could put above himself, his personality and his freedom. But this “something” turns out to be elusive, forcing Pechorin to doubt the existence of transpersonal values ​​in general and put himself above all else. And yet, Pechorin thinks bitterly that “it’s true, I had a high appointment, because I feel immense strength in my soul ... But I didn’t guess this appointment.” Pechorin's ideological and moral searches are tragic character, since the very arrangement of things is doomed to failure, but he himself is far from being tragic inwardly, but, on the contrary, romantic and heroic. If Pechorin got into the appropriate situation, inspired by some great goal, he would undoubtedly have performed a heroic deed. He is not Onegin, who is cold and bored of living everywhere; Pechorin is hot, and it is boring for him to live only that petty and vain life that he is forced to lead, and he is not given another ... Of all the "superfluous people" Pechorin in most endowed with the energy of action, he is, so to speak, the least "superfluous".

In the future, the type of “extra person” degrades, the features of lethargy, apathy, lack of will, and inability to do anything are more and more manifest in it. Turgenevsky Rudin is still looking for a job, speaks of the need for high social activity, although he believes that at the time in which he lives, " good word- also the case. But Goncharovsky Ilya Ilyich Oblomov no longer thinks of any activity, and only love for Olga Ilyinskaya can move him from a cozy sofa, and even then, in fact, not for long. Oblomov, who became a type of great generalizing significance, drew a line, according to Dobrolyubov, under the development of the type of "superfluous person" in Russian literature. In Oblomov, the positive qualities that are so highly valued by Russian writers are still preserved - a subtly feeling soul, an extraordinary mind, tenderness of feeling, etc. - but inertia, "Oblomovism" nullifies these qualities, and talking about Oblomov as a hero of the time, perhaps, do not have to. Moreover, in the middle of the 19th century, Russian historical scene a new type has emerged, a hero of the new time - a raznochinets-democrat.

Extra person

"Extra Man", a socio-psychological type captured in Russian literature of the first half of the 19th century; its main features: alienation from official Russia, from the native environment (usually - noble), a feeling of intellectual and moral superiority over it and at the same time - mental fatigue, deep skepticism, discord in word and deed. Name "L. h." came into general use after the "Diary of a superfluous person" (1850) by I. S. Turgenev; the type itself developed earlier: the first completed incarnation was Onegin (“Eugene Onegin” by A. S. Pushkin), then Pechorin (“A Hero of Our Time” by M. Yu. Lermontov), ​​Beltov (“Who is to blame?” A. I. Herzen ), Turgenev characters: Rudin ("Rudin"), Lavretsky (" Noble Nest”) and others. Features of the spiritual appearance of “L. h." (sometimes in a complicated and modified form) can be traced in the literature of the second half of the 19th and early 20th centuries. (in the works of M. E. Saltykov-Shchedrin, L. N. Tolstoy, A. P. Chekhov, up to A. I. Kuprin, V. V. Veresaev, M. Gorky). Typology "L. h." affected in the lyrics (Lermontov, N. P. Ogarev). AT Western European literature"L. h." to a certain extent, the hero brought to life by a “prolonged hangover” (see K. Marx, in the book: K. Marx and F. Engels, Works, 2nd edition, volume 8, p. 122) after the bourgeois revolution of the 18th century is close to a certain extent. , disappointment in social progress ("Adolf" B. Constant, "Confession of the son of the century" A. de Musset). However, the contradictions of Russian reality, the contrast of “civilization and slavery” (see A. I. Herzen, Collected Works, vol. 7, 1956, p. 205), underdevelopment public life put forward by L. h." to a more prominent place, led to increased drama and intensity of his experiences. At the turn of the 50-60s. revolutionary democrats N. G. Chernyshevsky and N. A. Dobrolyubov sharply criticized “L. h.", his indecision and passivity, at the same time unlawfully reducing the content of the problem "L. h." to the subject of liberalism. With a re-evaluation of "L. h." F. M. Dostoevsky also spoke, condemning his individualism and isolation from the popular soil. literary image"L. h.", arising as a rethinking romantic hero(J. Byron, Pushkin), developed under the sign of realistic portraiture, revealing the difference between the character and the author. Essential in the topic "L. h." there was a rejection of educational settings in the name of an impartial analysis of the “history of the human soul” (Lermontov), ​​which created the basis for deep psychologism and the subsequent conquests of realism.

Lit .: Chernyshevsky N. G., Russian man on rendez-vous, Poln. coll. soch., v. 5, M., 1950; Goncharov I. A., "A million torments." Sobr. soch., vol. 8, M., 1952.

Yu. V. Mann.

Wikipedia

Extra person

Extra person - literary hero, characteristic of the works of Russian writers of the 1840s and 1850s. Usually this is a person of considerable ability who cannot realize his talents in the official field of Nikolaev Russia.

Belonging to the upper classes of society, the superfluous person is alienated from the nobility, despises bureaucracy, but, having no prospect of other self-realization, mostly spends time in idle entertainment. This lifestyle fails to alleviate his boredom, leading to duels, gambling and other self-destructive behavior. To typical features superfluous person include "mental weariness, deep skepticism, discord between word and deed, and, as a rule, social passivity".

The name "superfluous man" was attached to the type of disillusioned Russian nobleman after the publication in 1850 of Turgenev's story "The Diary of a Superfluous Man". The earliest and classic examples- Eugene Onegin A. S. Pushkin, Chatsky from "Woe from Wit", Pechorin M. Lermontov - date back to Byronic hero era of romanticism, to Rene Chateaubriand and Adolphe Constant. The further evolution of the type is represented by the Herzen Beltov (“Who is to blame?”) and the heroes early works Turgenev (Rudin, Lavretsky, Chulkaturin).

Superfluous people often bring trouble not only to themselves, but also female characters who have the misfortune to love them. The negative side of superfluous people, associated with their displacement outside the social and functional structure of society, comes to the fore in the works of literary officials A.F. Pisemsky and I.A. Goncharov. The latter opposes practical businessmen “hovering in the skies” to loafers: Aduev Jr. - Aduev Sr., and Oblomov - Stolz. In "War and Peace" Pierre Bezukhov has been in the position of a superfluous person at the beginning of the century for a long time:

Pierre tested the unfortunate ability of many, especially Russian people, the ability to see and believe in the possibility of good and truth, and to see the evil and lies of life too clearly in order to be able to take a serious part in it. Every field of labor in his eyes was connected with evil and deceit. Whatever he tried to be, whatever he undertook, evil and falsehood repelled him and blocked all paths of activity for him. And meanwhile it was necessary to live, it was necessary to be busy. It was too terrible to be under the yoke of these insoluble questions of life, and he gave himself up to his first hobbies, only to forget them. He went to all sorts of societies, drank a lot, bought paintings and built, and most importantly read.

The problem of "superfluous" people in society is reflected in the work of many Russian writers. For example, in the comedy A.S. Griboyedov "Woe from Wit".
Alexander Chatsky is the image of an advanced person of the 10-20s of the 19th century, who, in his convictions and views, is close to the future Decembrists. In accordance with the moral principles of the Decembrists, a person must perceive the problems of society as his own, have an active civic position, which is noted in the behavior of Chatsky. He expresses his opinion on various issues, coming into conflict with many representatives of the Moscow nobility.

First of all, Chatsky himself is noticeably different from all the other heroes of the comedy. it educated person with an analytical mind; he is eloquent, gifted with imaginative thinking, which elevates him above the inertia and ignorance of the Moscow nobility. Chatsky's clash with Moscow society occurs on many issues: this is the attitude to serfdom, to public service, to domestic science and culture, to education, national traditions and language. For example, Chatsky says that "I would be glad to serve - it's sickening to serve." This means that he will not, for the sake of his career, please, flatter his superiors, and humiliate himself. He would like to serve "the cause, not the persons" and does not want to seek entertainment if he is busy with business.

The Moscow nobles are annoyed by those personality traits of the protagonist that are precisely positive: his education and desire for knowledge, the ability to think independently and a thirst for justice, the desire to serve the Fatherland, but with the benefit of progress and with the aim of reforming the existing socio-political system. And the transformations famous society"did not want to allow, therefore people like Chatsky were considered dangerous, they did not want to see them in high society, and they became "superfluous people."
Chatsky is alone in the crowd of Famusov's guests representing Moscow society where “empty, slavish, blind imitation” of everything foreign reigns and “a mixture of languages: French with Nizhny Novgorod” is heard. Chatsky is a patriot, he would like to be proud of his country and people, but in the manners of the nobles, in their way of life, the hero notes the degeneration of everything Russian, national.

Undoubtedly, patriotism is one of the most worthy qualities of a person, and Chatsky's spiritual image deserves high praise. But there are some features that somewhat violate the integrity of the positive image. Perhaps, due to inexperience, youth and ardor, the hero does not understand that it is inappropriate to pronounce accusatory monologues at Famusov's reception. Moreover, no one wants to listen to the opinion of Chatsky, no one cares about his experiences. It evokes negative emotions in those around him, since direct condemnation of the mores and beliefs of the bureaucracy and landowners does not contribute to mutual understanding with them. The hero should understand that Famusov and his guests are not the kind of society where one should open one's soul, share thoughts about modern reality. Sophia, like her father, easily classifies Chatsky as crazy, wanting to take revenge on him for mocking Molchalin. The hero is forced to leave the Famusovs' house, where his mind, his critical views on life were so unpleasant to others. He did not make friends or like-minded people here, but only knew disappointment, felt insulted and was ready to run away from here to muffle his mental pain.

Was there such a place in Russia where the hero of Griboedov could find "a corner for an offended feeling"? Probably, Chatsky should go where there were already secret societies future Decembrists, where they appreciated smart people who are ready to use their knowledge and strength for the overdue transformations in the Fatherland. In the understanding of the advanced nobles, the mind should be free, "free", which means that for the Decembrists, freethinking was not a dirty word or a definition of a vice, a dangerous illness, but vice versa. It is clear that Griboyedov's courage was highly appreciated by contemporaries with advanced convictions, since his hero Chatsky was close in spirit to the future Decembrists. He aroused sympathy by the fact that he felt the need to fight against inertia, ignorance, cruelty, injustice and other vices, he wanted to participate in transformations. When communicating with representatives of the Moscow nobility, he saw a misunderstanding, a hostile attitude towards himself, in addition, his position was complicated by a tragedy in love and loneliness. Therefore, A.S. Griboyedov defined Chatsky’s condition as “woe from wit”, since the hero felt himself “superfluous” in the society of Moscow nobles.

In the work of A.S. Pushkin, we can find the theme of “an extra person”, for example, in the poem “Gypsies”.
Aleko, the hero of the poem, fled from the “bondage of stuffy cities” to a gypsy camp, hiding from persecution for a crime he had committed. Aleko did not find his destiny, living in the familiar world, and he was quite satisfied with the gypsy freedom. Secular entertainment, idleness and luxury of the former life, intrigues and gossip irritate him, but Aleko cannot fill life with meaning, become useful and necessary to society, it is easier for him to wander aimlessly with gypsies. However, in the camp, as well as in high society, he turns out to be "an extra person." The hero did not want to come to terms with Zemfira's betrayal, he killed the girl along with her new lover. And the gypsies reject the stranger:

Leave us, proud man!
...You only want freedom for yourself...

In the novel by A.S. Pushkin "Eugene Onegin" main character also becomes "superfluous" in high society, although his position manifested itself somewhat differently than that of Chatsky or Aleko.
The environment where such personalities as Eugene Onegin are formed is represented by secular salons that educate "young rake". Endless dinners, balls, entertainment, playing cards gave rise to a desire for luxury and determined the needs and principles of these people. The monotony of secular life (“and today is the same as yesterday”) explains why boredom, gossip, envy, slander arise and reign in the world. To all this, Tatyana (the heroine of the novel) gives precise definition: "a hateful tinsel life."

The novel "Eugene Onegin" reflects many problems of the time. One of them is an “extra” person in society. To show typical characters for a given time (10-20s of the nineteenth century), it is necessary to note the circumstances and sources of their occurrence. And Pushkin touches on the topics of upbringing, education, family relations. The hero of the novel, as often happened in noble families, receives a superficial education under the guidance of a French tutor. Absence useful activities and due attention of parents in childhood, then idling Savor- all this was typical for the "golden youth" of St. Petersburg, where the main character was born and raised.

It is impossible to explain everything in the fate of Onegin, but significant changes are taking place in his life, as well as in character. Dissatisfaction with oneself began in those days when a young rake, bored and disappointed in everything, feeling unnecessary, tries to find a job for himself, seeks to find meaning in life. He leaves the world and settles in a village. The strongest shock of that time was the murder of Lensky, who became his friend, trusted his heart secrets. Onegin could not forgive himself for a terrible mistake made because of his own egoism, unwillingness to explain himself to a person, to be more sensitive and attentive to a young friend and to people in general. This for the first time led him to suffering, to the "anguish of heartfelt remorse" that made the hero rush around the world.
The next test was unexpected love. We can say that the very ability to love speaks of the rebirth of Onegin. This is no longer an egoist if for him the woman he loves becomes dearer than life. AT moral attitude it is now cleaner, higher, as it is able to draw deep conclusions:

To lengthen my life
I have to be sure in the morning
That I will see you in the afternoon.

Onegin, having experienced suffering, learned to understand the feelings of other people, he knew the pain of loss, the pain of unrequited love and the inability to be near the woman he loved. He understands that he is punished by life for his former frivolity, for "playing in love", when he tested his skills in practice "in the science of tender passion." And as a result, for the former unwillingness to start a family, for the desire to preserve freedom (now “hateful”), Eugene receives suffering, loneliness. He realized how important it is in life just to be around dear person. It turned out that true bliss lies in the ability to love and be loved! Onegin spoke about the soul. And this, of course, is a huge achievement in the moral improvement of the hero.
The hero has gone through a difficult path of spiritual evolution, he is ready to serve society and can become one of those who, entering into secret alliances of future Decembrists, thought about reforms in Russia.

The theme of the "superfluous person" is continued in M.Yu. Lermontov's novel "A Hero of Our Time".
Pechorin, the hero of the novel, on the night before the duel with Grushnitsky, sorting through his life in memory, comes to sad conclusions: “... why did I live? for what purpose was I born?.. And, it is true, it existed, and, it is true, it was a high purpose for me, because I feel immense strength in my soul. Pechorin understands that he did not find something very important for himself and "became carried away by the bait of passions, empty and ungrateful."
Lermontov did not show his hero in any business or creativity (with the exception of some references to the dangerous, risk-to-life service in the Caucasus and keeping a diary). Before service in mountain fortress Pechorin was busy for the most part secular idleness, so he needs sometimes thrills. Like many representatives of the "golden youth", the young officer liked his own superiority over "barely blossoming souls": he could easily "pick a flower and throw it" without any remorse. Pechorin knew "the greatest triumph of power", about which he spoke as follows: "... my first pleasure is to subordinate everything that surrounds me to my will, to arouse a feeling of love, devotion and fear."

In his diary (“Pechorin’s Journal”), the hero, prone to reflection, reflects on his life and finds an explanation for many actions: “evil begets evil”, and therefore the suffering he endured in his youth gave the concept of “pleasure to torment another”. However, not every young man, as a result of suffering, becomes a tormentor for another person, that is, a villain. Usually, suffering makes the soul purer, more sublime, a person understands someone else's pain. Pechorin is not like that, he is an egoist by nature. The hero himself calls himself "an ax in the hands of fate", as he brings misfortune to many who are close to him.

In many cases, Pechorin acts like typical hero time. It is clear that the formation of his personality was influenced by the features of the post-Decembrist era, that decline in social movement and apathy that set in during the years of reaction, but a person who has good moral inclinations can think about ways to solve problems, both personal and social. Pechorin, on the other hand, cynically claims that society made him so: “I was insulted - I became vindictive ... I told the truth - they didn’t believe me: I learned to deceive.” And secular intrigues, victories over women and other meaningless entertainments that fill the void of life became the main occupation in his life.

Pechorin is able to “take on a deeply moved look” in order to fool a pretty girl and arouse her compassion for herself, explaining coldness and selfishness by the injustices of fate that made him moral cripple. This is what he does with Mary, playing with her feelings, seeking her love, in order to then pictorially declare his inability to love. And again, he is not at all concerned about suffering, pain, the broken fate of another person, although Pechorin admits that he often realized himself as an executioner in relation to those with whom his fate brought him together. He felt in his soul "immense forces", but "the forces of this rich nature were left without use, life without meaning ...", as in the story of Onegin in A.S. Pushkin's novel "Eugene Onegin". But in the previous era, the hero had the opportunity to join the Decembrists, while Pechorin does not have such a prospect, but he does not look like a person who thinks about the fate of Russia and the people. He remains "an extra person", and his life ends too soon. The image of the hero of time, created by M.Yu. Lermontov, helps to understand what is the tragedy of fate outstanding personality in an unhealthy society.

In I.S. Turgenev’s novel “Fathers and Sons”, the “superfluous person” is the nihilist Bazarov.
In an effort to contradict the whole world of aristocrats, nihilists refused to accept their morality, political attitudes, art, literature. In polemical fervor, like grimacing schoolchildren wishing to challenge society, they denied everything, intending to “clear the place first”, and then let others create something. Most likely, these new fighters and thinkers vaguely imagined the future that someone had to build on the ruins of the civilization inherited from the nobles.

The hero of Turgenev's novel "Fathers and Sons" Yevgeny Bazarov studies the natural sciences, works hard, studying medical practice, and I am sure that this gives him the right to treat with disdain those who know life from other positions. He is often harsh, cynical, even arrogant with people, including those who seek to imitate him, who consider themselves his students. Since the followers of Bazarov do not have their own convictions, they are ready to imitate him, repeat everything that the idol will do or say. These people, who have not found a job in the Russian social movement, look like a pathetic and ridiculous parody of the fighters for freedom and progress. They cannot be called like-minded people of Bazarov, so the author calls them his students. In reality, these are people-chips, who were swept away by a storm in an era of change, and they are ready to wash at least on some shore. But the main character, Bazarov, turns out to be an "extra" person, not in demand in society. This is a tragic figure: he, like many in this era, did not find his destination, did not have time to do something necessary and important for Russia, and, having made a mistake in medical practice, dies young. In the novel, Bazarov is a very lonely person, since he does not have true followers and like-minded people, which means that in nihilism, as in love, he failed.

Of course, one can not take seriously the “attacks” of the nihilist Bazarov against the “principles” of the aristocrat Kirsanov (Pavel Petrovich), especially his absurd opinion about the uselessness, uselessness for humanity of music, poetry, art in general (“Rafael is not worth a penny”). But with a closer acquaintance with this hero, an understanding comes: his outrageousness and harshness are explained by the fact that he himself does not know how to change what he does not like and what he rejects. It was also a phenomenon of the era when the aristocrats could no longer change anything, do anything, and the democrats would like to, but did not yet know what the path of Russia's development should be.

I. S. Turgenev’s novel “Rudin” is also devoted to the theme of the “superfluous person”, whose hero (Dmitry Rudin), having become a fighter for justice and democratic reforms at the call of his heart, is forced to leave his homeland. Finding no use for his strength, intelligence and talent, feeling unnecessary in Russia, he dies in Paris with a red banner in his hands during the revolutionary events of 1848.

In F.M. Dostoevsky's novel Crime and Punishment, the protagonist also does not find his place in the public life of the country.
Raskolnikov, who does not want to put up with injustice in society and the imperfection of life, comes up with his own theory, which, in his opinion, will help him find the meaning of life and confidence in tomorrow. Rodion, rejected by society, "an extra person", protests against the fate of the humiliated and insulted " little man”, and therefore through the crime wants to assert itself. However, after the murder of the pawnbroker, there were no changes for the better in his life and the lives of those who suffered from the activities of the greedy old woman. And Rodion gradually comes to realize the falsity of the theory of "blood in conscience", about special people who are allowed a lot for the sake of great goals. Raskolnikov does not know how to change society so that every person feels "not superfluous", but he understands that through repentance and conversion to faith he can return to the life of an ordinary citizen.

In I.A. Goncharov's novel "Oblomov", the hero is completely removed from the problems of society and from the struggle for a better future.
Probably, Oblomov and the “Oblomovism” have their supporters and defenders. After all, Ilya Ilyich had a “beautiful, crystal-clear soul”; he remained faithful patriarchy the life of the nobility, loved his parents, honest, simple, cordial people, and kept the memory of them; he did no harm to anyone and did not waste his soul "on trifles"; he kept national traditions and culture. In fact, Oblomov sought to avoid the fuss and excessive, sometimes unnatural thirst for activity. But this desire caused the sleep of the soul and led to the rejection of real life.

The merit of I.A. Goncharov before Russian society, not only in the fact that he created a true picture of reality, but also in the fact that the phenomenon depicted by the writer makes one think about the influence of "Oblomovism" on every person, regardless of era and belonging to any class. N.A. Dobrolyubov also spoke about this in his article on the novel “Oblomov”: “Oblomov never left us ...”. The image of the protagonist, Ilya Ilyich Oblomov, quite naturally continued the gallery of "superfluous people". Like Onegin, Pechorin, Beltov and others, Goncharov's hero is "infected" with the inability to find a job for himself in the contemporary world; he is not able to realize his dreams and plans.
Oblomov's path is a dead end: he cannot serve, because he does not want to seek promotion through unworthy means; He does not want to be "in the world", because he is too lazy. And servility, servility, insincerity or dishonesty, greed of some people interfere with communication and friendship. This makes him sad, depressing and weighs on his sensitive nature, which causes a desire to withdraw himself, to live in seclusion, solitude, increasingly feeling his uselessness, uselessness and loneliness. The typical complex of the "superfluous person" in Oblomov becomes paradoxical, as it leads not only to the denial of the existing reality, but also to the death of the individual. The hero strove to save himself from reality, at least by daydreams, went into the world of dreams, into a dream, and passed away from life in general.

Thus, in Russian literature, the theme of the “superfluous person” is reflected fully and multifaceted by writers of different eras.

Reviews

Hello Zoya! I read your article with great pleasure, and as I remember now, when our teacher went through this topic with us, and, which is typical, almost word for word with your arguments. True, when she said about Onegin that he was tired of one thing every day and also balls, theaters and all high-society tinsel, and made a comparison in the direction of a scientist who also makes experiments day after day and it would seem that a person should not enjoy his life either. And then she asked the class a question - what is the difference between these two people .Naturally, we could not say anything. Then she herself explained to us that the scientist has a goal - to get a result, and over and over again, making experiments, he thinks and strives to get closer to what he is looking for, but with Onegin it all comes down to how to kill time, he, like a thinking person, does not may not see this. But, as I understand it, Bazarov got into this company due to a misunderstanding, that is, Turgenev put the accents too sharply, in life such extremes are rare, but here you just need to get into the shoes of a hero, if he it seems that there is no other way out but to destroy everything beforehand, maybe if at that time there would have been the Internet, then Bazarov would not have become so categorical, but we also sometimes feel superfluous on this white light, and I’ll take a collection of my coins and start some movie or performance on the Internet, it seems that you’ll be distracted from all sorts of apocalyptic thoughts, otherwise I don’t know how. Maybe now there is no problem of extra people, Americans generally believe that the planet is overpopulated, and at least 2/3 must be thrown into the furnace of war for the sake of the strong this world, and reason beyond good and evil. Thank you again for interesting article I will continue to visit your page.

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

At the turn of the 1850s-60s, criticism (N.A. Dobrolyubov), waging an attack on the liberal intelligentsia, sharpened weak sides“Superfluous Man” - half-heartedness, inability to actively interfere in life, however, at the same time, the theme of “Extra Man” was unduly reduced to the theme of liberalism, and its historical background- to the nobility and "Oblomovism". The ratio of the typology of the "Superfluous Man" as a culturological problem with artistic text, in which - in the most difficult cases- the stability of the psychological complex of character turned out to be problematic: for example, Onegin's mental fatigue and indifference changed in the final chapter Pushkin's novel youthful passion and enthusiasm. In general, in a broader context of the literary movement, the type of "Superfluous Man", having arisen as a rethinking of the romantic hero, developed under the sign of a more versatile and mobile characterology. Essential in the theme of "The Superfluous Man" was the rejection of educational, moralizing attitudes in the name of the most complete and impartial analysis, reflection of the dialectics of life. It was also important to affirm the value of an individual person, personality, interest in the "history of the human soul" (Lermontov), ​​which created the basis for a fruitful psychological analysis and prepared the future conquests of Russian realism and post-realist art movements.