What do Oblomov and Terentyev have in common? Report: Characteristics of the main characters of the novel Oblomov

Where he came from and how he gained the trust of Ilya Ilyich is unknown. Tarantiev appears on the very first pages of the novel - “a man of about forty, belonging to a large breed, tall, voluminous in the shoulders and throughout the body, with large facial features, a large head, a strong, short neck, with large protruding eyes, thick lips. A quick glance at this man gave rise to the idea of something rough and unkempt." But Tarantiev has another interesting feature. “The fact is that Tarantyev was a master only of talking; in words he decided everything clearly and easily, especially with regard to others; but as soon as it was necessary to move a finger, get moving - in a word, apply the theory he had created to the case and give him a practical move... he was a completely different person: here he was missing..." This trait, as is known, characterizes not only the rude and uncouth characters of the named writers, but to some extent "superfluous people." Like Tarantyev, they also remained “theoreticians for life,” applying their abstract philosophy to places and places out of place. Such a theorist needs a number of practices that could bring his plans to life. Tarantiev finds himself a “godfather”, Ivan Matveevich Mukhoyarov, a morally unscrupulous man, ready for any meanness, who does not disdain anything in his thirst for accumulation.

At first, Oblomov believes that Tarantiev is able to help him with worries about the estate and in changing his apartment. Gradually, not without the influence of Olga Ilyinskaya and Andrei Stolts, Ilya Ilyich begins to understand what quagmire Tarantyev is trying to drag him into, slowly forcing Oblomov to sink to the very bottom of life. Tarantyev’s attitude towards Stolz is not so much the contempt of a Russian for a German, with which Tarantyev rather hides, but rather the fear of exposing the grandiose frauds that he hopes to carry through to the end. It is important for him, with the help of trusted persons, to get his hands on Oblomovka, receiving interest from Ilya Ilyich’s income, and to confuse him himself properly by obtaining evidence of Oblomov’s connection with Pshenitsyna. Tarantiev hates Stolz, calling him a “sleazy beast.” Out of fear that Stolz will nevertheless take Oblomov abroad or to Oblomovka, Mikhei Andreevich is in a hurry, with the assistance of Mukhoyarov, to force Ilya Ilyich to sign a predatory contract for an apartment on the Vyborg side. This contract deprives Oblomov of the possibility of any action.

Following this, Tarantyev persuades Mukhoyarov, “before there are no more boobies in Rus',” to marry Oblomov to a new manager of the estate, Isaiah Fomich Zatertoy, who is very successful in bribes and forgeries. The next step for Mikhei Andreevich is to put into practice (with the help of the same Mukhoyarov) the idea of Oblomov’s “debt”. As if offended by his sister’s honor, Mukhoyarov should accuse Ilya Ilyich of laying claim to the widow Pshenitsyna and sign a document for compensation for moral damage in the amount of ten thousand rubles. The paper is then rewritten in the name of Mukhoyarov, and the godfathers receive money from Oblomov. After Stolz exposes these frauds, Tarantyev disappears from the pages of the novel. Only at the very end is he mentioned by Zakhar, who, when meeting Stolz near the cemetery on the Vyborg side, tells how much he had to endure after the death of Ilya Ilyich from Mukhoyarov and Tarantiev, who wanted to exterminate him from the world. “Mikhei Andreich Tarantyev kept striving to hit you from behind with yoga as soon as you passed by: life was gone!” Thus, Tarantyev took revenge on Zakhar for the neglect shown by the servant in those times when Mikhei came to Oblomov for lunch and asked for a shirt, a vest, or a tailcoat - naturally, without return. Every time Zakhar stood up to defend his master’s goods, growling like a dog at the uninvited guest and not hiding his feelings for the low man.

Agafya Pshenitsyna

Agafya Matveevna Pshenitsyna is the widow of an official, Oblomov’s illegitimate wife. “She was about 30 years old. She was very white and plump in face. She had almost no eyebrows at all... Her eyes were grayish-simple, like her entire facial expression; the hands are white, but hard, with large knots of blue veins protruding outward.”
Before Oblomov, P. lived without thinking about anything. She was completely uneducated, even stupid. She was not interested in anything other than running the house. But in this she achieved perfection.
P. was in constant motion, realizing that “there is always work.” It was work that was the content and meaning of this heroine’s life. In many ways, it was P.’s activity that captivated Oblomov.
Gradually, with Oblomov settling in her house, important changes occur in P.’s nature. Anxieties, glimpses of reflection, and finally love awaken in her. Her heroine manifests herself in her own way, taking care of Oblomov’s clothes and table, praying for his health, and caring for the hero at night during his illness. “Her entire household... received a new, living meaning: the peace and comfort of Ilya Ilyich... She began to live in her own full and varied way.” P. is the only absolutely unselfish and decisive person around Oblomov. For his sake, she is ready to do anything: pawn jewelry, borrow money from her late husband’s relatives. When P. finds out about the machinations of her “brother” and godfather against Oblomov, she does not hesitate to break off all relations with them. P. and Oblomov have a son. Understanding his difference from the rest of his children, P., after Oblomov’s death, meekly gives him up to Stolz to be raised. Having become a widow, P. realized that she had a meaning in life, she “knew why she lived and that she did not live in vain.” At the end of the novel, P.’s selflessness is manifested with renewed vigor: she does not need reports from Oblomov’s estate and income from it. The light of P.'s life faded along with Oblomov's life.

Zakhar

Zakhar is Oblomov's servant. This is “an elderly man, in a gray frock coat, with a hole under his arm... with a skull as bare as a knee and with immensely wide thick brown and gray sideburns...”
Z. is lazy and sloppy. Everything Z. touches breaks and breaks. He can serve food to Oblomov on dirty or broken dishes, he can serve food picked up from the floor, etc. He justifies this philosophically: everything that is done is pleasing to the Lord, and there is no point in fighting it. But Z.’s external looseness is deceptive. He cares about his master's goods and knows them inside out. Despite Tarantiev’s pressure, Z. does not give him any of the master’s clothes, confident that he will not return them. Z. is a servant of the old school, idolizing his master and his entire family. When Oblomov scolds the servant for likening him to other people living in the world, Z. feels guilty. Indeed, his master is special and the best. But, along with devotion to the owner, Z. is characterized by sophistication and depravity of morals. He loves to drink with friends, gossip with other servants, sometimes praising and then belittling his master. On occasion, Z. can pocket money for himself, change from a store, for example. Z.'s life is closely connected with Oblomov's life. The last two representatives of Oblomovka, each in their own way, sacredly keep her covenants in their souls. Even when Z. marries the cook Anisya, he tries not to allow her to see the master, but does everything for him himself, considering it his inviolable duty. Z.'s life ends with Oblomov's life. After his death, Z. is forced to leave Pshenitsyna’s house. He ends his life on the porch as a poor old man. This is how Stolz meets him and offers to take him to the village. But the faithful servant refuses: he cannot leave his master’s grave unattended.

Mikhei Tarantiev

Tarantyev Mikhey Andreevich is Oblomov’s fellow countryman. Where he came from and how he gained the trust of Ilya Ilyich is unknown. T. appears on the very first pages of the novel - “a man of about forty, belonging to a large breed, tall, bulky in the shoulders and throughout the body, with large facial features, a large head, a strong, short neck, large protruding eyes, thick lips . A quick glance at this man gave rise to the idea of something rude and unkempt.”
This type of bribe-taking official, a brute, ready to scold everyone in the world every minute, but at the last minute cowardly hiding from well-deserved reprisals, was not discovered in literature by Goncharov. It became widespread precisely after Goncharov, in the works of M. E. Saltykov-Shchedrin, A. V. Sukhovo-Kobylin. T. is that “coming Ham” who gradually reigned throughout Russia and who grew into a formidable symbol in the image of Sukhovo-Kobylin’s Rasplyuev.
But T. has one more interesting feature. “The fact is that Tarantiev was a master only of talking; in words he decided everything clearly and easily, especially with regard to others; but as soon as it was necessary to move a finger, to get under way - in a word, to apply the theory he had created to the case and give it a practical move... he was a completely different person: here he was missing... "This trait, as is known, characterizes not only rude and uncouth characters of the named writers, but to some extent “superfluous people”. Like T., they also remained “theoreticians for life,” applying their abstract philosophy to places and places out of place. Such a theorist needs a number of practices that could bring his plans to life. T. finds himself a “godfather”, Ivan Matveevich Mukhoyarov, a morally unscrupulous man, ready for any meanness, who does not disdain anything in his thirst for accumulation.

At first, Oblomov believes that T. is able to help him with worries about the estate and in changing his apartment. Gradually, not without the influence of Olga Ilyinskaya and Andrei Stolts, Ilya Ilyich begins to understand what quagmire T. is trying to drag him into, slowly forcing Oblomov to sink to the very bottom of life. T.’s attitude towards Stolz is not so much the contempt of a Russian for a German, with whom T. rather hides behind him, but rather the fear of exposing the grandiose frauds that T. hopes to carry through to the end. It is important for him, with the help of trusted persons, to get his hands on Oblomovka, receiving interest from Ilya Ilyich’s income, and to confuse him himself properly by obtaining evidence of Oblomov’s connection with Pshenitsyna.
T. hates Stolz, calling him a “sleazy beast.” Out of fear that Stolz will nevertheless take Oblomov abroad or to Oblomovka, T., with the assistance of Mukhoyarov, is in a hurry to force Ilya Ilyich to sign a predatory contract for an apartment on the Vyborg side. This contract deprives Oblomov of the possibility of any action. Following this, T. persuades Mukhoyarov, “before there are no more boobies in Rus',” to marry Oblomov to a new manager of the estate, Isai Fomich Zatertoy, who is very successful in bribes and forgeries. T.’s next step is to put into practice (with the help of the same Mukhoyarov) the idea of Oblomov’s “debt”. As if offended by his sister’s honor, Mukhoyarov should accuse Ilya Ilyich of laying claim to the widow Pshenitsyna and sign a document for compensation for moral damage in the amount of ten thousand rubles. The paper is then rewritten in the name of Mukhoyarov, and the godfathers receive money from Oblomov.

After Stolz exposes these frauds, T. disappears from the pages of the novel. Only at the very end is he mentioned by Zakhar, who, when meeting Stolz near the cemetery on the Vyborg side, tells how much he had to endure after the death of Ilya Ilyich from Mukhoyarov and T., who wanted to exterminate him from the world. “Mikhei Andreich Tarantyev kept striving to kick you from behind as soon as you passed by: life was gone!” In this way, T. took revenge on Zakhar for the neglect shown by the servant in those times when T. came to Oblomov for lunch and asked for a shirt, a vest, or a tailcoat - naturally, without return. Every time Zakhar stood up to defend his master’s goods, growling like a dog at the uninvited guest and not hiding his feelings for the low man.
Oblomov

This is how the Main Character appears to the reader at the very beginning of the novel: “He was a man about thirty-two or three years old, of average height, pleasant appearance, with dark gray eyes, but with the absence of any definite idea, any concentration in his facial features... His movements even when he was alarmed, he was also restrained by gentleness and laziness, not without a kind of grace. All anxiety was resolved with a sigh and died away in apathy or dormancy. Ilya Ilyich’s lying down was not... a necessity... it was his normal state.” Oblomov's home costume - an oriental robe, as well as the life of Ilya Ilyich, described in detail by the author, complement the image of the hero and help to better understand his character. “On the walls, near the paintings, cobwebs, saturated with dust, were molded in the form of festoons; mirrors, instead of reflecting objects, could rather serve as tablets for writing down some notes on them in the dust for memory.”

A far from impartial character appears before us; it seems that laziness, passivity, and indifference are deeply rooted in him. But at the same time, against the background of his “friends”, deceitful, selfish, boastful people who paid him a visit at the very beginning of the novel, the reader becomes acquainted with Oblomov’s positive qualities: purity of thoughts, honesty, kindness, cordiality.

To more fully reveal Oblomov’s character, Goncharov contrasts him with other heroes of the novel, Andrei Stoltz and Olga Ilyinskaya.

Stolz is certainly the antipode of Oblomov. Every trait of his character is a sharp protest against the qualities of Ilya Ilyich. Stolz loves life - Oblomov often falls into apathy; Stolz has a thirst for activity - for Oblomov, the best activity is relaxing on the couch. The origins of this opposition are in the education of heroes.
The author makes you involuntarily compare the childhood of little Andrei with the childhood of Ilyusha. Unlike Stolz, who grew up under the tutelage of his father, independent, persistent in achieving his goals, and thrifty, the main character grew up as a child, accustomed to having all his desires satisfied not as a result of his own efforts, but from the hard work of others. The village where Oblomov was brought up was, according to Dobrolyubov, the soil on which Oblomovism grew. Such an upbringing developed apathetic immobility in Ilya Ilyich and plunged him into the pitiful state of a moral slave. This is one of Oblomov’s tragedies touched upon in the novel - the young and active Ilyusha was infected from childhood with an “incurable disease”, Oblomovism - laziness generated by fear of change and fear of the future.
Stolz, in whom the author has infused the power capable of reviving the Oblomovs and destroying Oblomovism, considers it his duty to change his friend’s way of life.

Andrei tries to “walk” Ilya Ilyich with people, goes with him to dinner parties, at one of which he introduces him to Olga Ilyinskaya. She “in the strict sense was not a beauty... But if she were turned into a statue, she would be a statue of grace and harmony,” “in a rare girl you will find such simplicity and natural freedom of look, word, action... no lies, no tinsel, no intent !” Olga in the novel is the embodiment of grace, concentration, and lightness. Oblomov is immediately captivated by the girl’s amazing voice, listening to her magnificent “Casta diva”. At Stoltz’s request, Olga draws up a plan for how she will use Oblomov’s love to “remake” him into an active, active person. Olga understands that in her relationship with Oblomov she plays the main role, “the role of a guiding star.” She transformed along with Oblomov’s changes, because these changes are the work of her hands. “And she will do all this miracle... She even shuddered with proud, joyful trepidation; I considered this a lesson ordained from above.” During the process of her experiment, Olga falls in love with Oblomov, which leads her entire plan to a dead end and leads to tragedy in their future relationship.

Oblomov and Olga expect the impossible from each other. It comes from him - activity, will, energy. In her mind, he should become like Stolz, but at the same time retain the best that is in his soul. He is from her - reckless, selfless love. But Olga loves the Oblomov whom she created in her imagination, whom she sincerely wanted to create in life. “I thought that I would revive you, that you could still live for me, but you died a very long time ago,” Olga pronounces with difficulty and asks a bitter question: “Who cursed you, Ilya? What did you do? What ruined you? There is no name for this evil...” “Yes,” answers Ilya. - Oblomovism!” The tragedy of Olga and Oblomov becomes the final verdict on the terrible phenomenon that Goncharov portrayed in his novel.
The main thing, in my opinion, is another tragedy of Oblomov - humility, unwillingness to overcome such an illness as Oblomovism. Over the course of the novel, Oblomov set himself many tasks that seemed to be of primary importance to him: to carry out reforms on the estate, get married, travel around the world, and, finally, find himself a new apartment in St. Petersburg to replace the one from which he was being evicted . But a terrible “illness” does not allow him to get down to business, it “knocked him down on the spot.” But Oblomov, in turn, does not try to get rid of her, but only tries in vain to shift his problems onto the shoulders of another, as he was taught in childhood. The tragedy of Ilya Ilyich is that even such high and noble feelings as love and friendship cannot make him wake up from his eternal sleep.

Olga Ilyinskaya

Olga Sergeevna Ilyinskaya – Oblomov’s beloved, Stolz’s wife, bright and strong character.
“Olga in the strict sense was not a beauty... But if she were turned into a statue, she would be a statue of grace and harmony,” “In a rare girl you will find such simplicity and natural freedom of look, word, action... no lies, no tinsel, no intent !”
The author emphasizes the rapid spiritual development of her heroine: she “as if she was following the course of life by leaps and bounds.”

Stolz introduces O. and Oblomov. Ilya Ilyich is immediately captivated by the girl’s amazing voice. Listening to her magnificent “Casta diva”, Oblomov falls more and more in love with O.

The heroine is self-confident, her mind requires constant work. Having fallen in love with Oblomov, she certainly wants to change him, raise him to her ideal, re-educate him. O. draws up a plan to “remake” Oblomov into an active, active person. “And she will do all this miracle... She even shuddered with proud, joyful trepidation; I considered this a lesson ordained from above.” O. understands that in her relationship with Oblomov she plays the main role, “the role of a guiding star.” She transformed along with Oblomov’s changes, because these changes are the work of her hands. But the heroine’s mind and soul required further development, and Ilya Ilyich changed very slowly, reluctantly and lazily. O.’s feeling is more reminiscent of the experience of re-educating Oblomov than of sincere first love. She does not inform Oblomov that all the affairs of her estate have been settled only in order to “see to the end how love will make a revolution in his lazy soul...” But, realizing that her life ideals will never converge with Oblomov’s ideals, O. breaks up relationship with him: “...you are ready to coo under the roof all your life...but I’m not like that: this is not enough for me, I need something else, but I don’t know what!” O. needs to feel that her chosen one is higher than her. But even Stolz, whom she will marry, does not succeed. “The deep abyss of her soul” does not give O. peace. She is doomed to always strive for development and a richer, spiritually rich life.

Stolz

STOLTZ is the central character of I.A. Goncharov’s novel “Oblomov” (1848-1859). Literary sources of the image of Sh. are Gogol’s Konstanjonglo and the merchant Murazov (second volume of “Dead Souls”), Pyotr Aduev (“Ordinary History”). Later, Sh. Goncharov developed the type in the image of Tushin (“Cliff”).
Sh. is the antipode of Oblomov, a positive type of practical figure. In the image of Sh., according to Goncharov’s plan, such opposing qualities as, on the one hand, sobriety, prudence, efficiency, knowledge of people as a materialist-practitioner should have been harmoniously combined; on the other hand, spiritual subtlety, aesthetic sensitivity, high spiritual aspirations, poetry. The image of Sh. is thus created by these two mutually exclusive elements: the first comes from his father, a pedantic, stern, rude German (“his father put him on a spring cart, gave him the reins and ordered him to be taken to the factory, then to the fields, then to the city , to merchants, to public places"); the second - from her mother, a Russian, poetic and sentimental nature (“she rushed to cut Andryusha’s nails, curl his curls, sew graceful collars and shirtfronts, sang to him about flowers, dreamed of a high role with him about the poetry of life...”). The mother was afraid that Sh., under the influence of his father, would become a rude burgher, but Sh.’s Russian entourage prevented him (“Oblomovka was nearby: there is an eternal holiday!”), as well as the princely castle in Verkhlev with portraits of pampered and proud nobles “in brocade, velvet and lace." “On the one hand, Oblomovka, on the other, the princely castle, with a wide expanse of lordly life, met the German element, and neither a good bursh nor even a philistine came out of Andrei.”

Sh., in contrast to Oblomov, makes his own way in life. It is not for nothing that Sh. comes from the bourgeois class (his father left Germany, wandered around Switzerland and settled in Russia, becoming the manager of an estate). Sh. graduates brilliantly from the university, successfully serves, retires to take care of his own business; makes a house and money. He is a member of a trading company that ships goods abroad; as an agent of the company, Sh. travels to Belgium, England, and throughout Russia. Sh.'s image is built on the basis of the idea of balance, harmonious correspondence between the physical and spiritual, mind and feeling, suffering and pleasure. The ideal of Sh. is measure and harmony in work, life, rest, love. The portrait of Sh. contrasts with the portrait of Oblomov: “He is entirely made up of bones, muscles and nerves, like a blooded English horse. He is thin, he has almost no cheeks at all, that is, bone and muscle, but no sign of fatty roundness...” Sh.’s ideal of life is constant and meaningful work, this is “the image, content, element and purpose of life.” Sh. defends this ideal in a dispute with Oblomov, calling the latter’s utopian ideal “Oblomovism” and considering it harmful in all spheres of life.

Unlike Oblomov, Sh. stands the test of love. He meets the ideal of Olga Ilyinskaya: Sh. combines masculinity, loyalty, moral purity, universal knowledge and practical acumen, allowing him to emerge victorious in all life's trials. Sh. marries Olga Ilyinskaya, and Goncharov tries in their active alliance, full of work and beauty, to imagine an ideal family, a true ideal that does not work out in Oblomov’s life: “they worked together, had dinner, went to the fields, played music as Oblomov also dreamed of ... Only there was no drowsiness, no despondency, they spent their days without boredom and without apathy; there was no sluggish look, no words; their conversation never ended, it was often heated.” In his friendship with Oblomov, Sh. also rose to the occasion: he replaced the rogue manager, destroyed the machinations of Tarantiev and Mukhoyarov, who deceived Oblomov into signing a false loan letter.
The image of Sh., according to Goncharov, was supposed to embody a new positive type of Russian progressive figure (“How many Stoltsevs should appear under Russian names!”), combining both the best Westernizing tendencies and Russian breadth, scope, and spiritual depth. Type Sh. was supposed to turn Russia onto the path of European civilization, to give it the appropriate dignity and weight among the European powers. Finally, Sh.’s efficiency does not conflict with morality; the latter, on the contrary, complements efficiency, gives it inner power and strength.
Contrary to Goncharov's plan, utopian features are noticeable in Sh.'s image. The rationality and rationalism inherent in the image of Sh. is detrimental to artistry. Goncharov himself was not entirely satisfied with the image, believing that Sh. was “weak, pale”, that “the idea is too bare from him.” Chekhov expressed himself more harshly: “Stolz does not inspire me with any confidence. The author says that he is a magnificent fellow, but I don’t believe him. This is a clever beast who thinks very well of herself and is pleased with herself. It’s half composed, three-quarters stilted” (letter 1889). The failure of Sh.'s image may be explained by the fact that Sh. is not artistically shown in the large-scale activity in which he is successfully engaged.

Mikhei Tarantiev

Mikhei Andreevich Tarantiev is a character who appeared from the first pages of the novel “Oblomov”, a fellow countryman of the main character, who managed to gain his trust for a while. Outwardly, he resembles a rude and unkempt bribe-taking official, of which there were many at that time. He is large and voluminous in the shoulders, looks to be 40 years old, has a large head and short neck, thick lips and bulging eyes. In words he could solve anything, but when it came to action, he lacked the spirit. In order to translate his plans into reality, he finds

himself a “godfather” in the person of I.M. Mukhoyarov. The latter was a vile man and did not disdain anything in the pursuit of money. He is Agafya Pshenitsyna’s brother, who is constantly trying to push her around. Tarantiev’s goal is not just to gain Oblomov’s trust, but also to take control of the protagonist’s property.

At first, he believes that Mikhey Andreevich wants and can help him with his estate and running the household. Gradually, Stolz intervenes in this matter, whom Tarantiev fiercely hates not so much because he is half-German, but because of the fear of exposing his machinations. To achieve his dishonest goals, Tarantiev is ready to do anything. He is even ready to convict Oblomov in connection with Pshenitsyna, and then, with the help of Mukhoyarov, receive a decent penalty for “moral” damage. Stolz nevertheless exposes the scoundrel, and he disappears from the pages of the novel. He is mentioned only at the very end by Ilya Ilyich’s servant Zakhar. He tells how Tarantiev did not let him live and took revenge for the neglect shown by the servant. And Zakhar only defended his master’s property and openly grumbled at the uninvited guest.

Composition by Mikhei Tarantiev

One of the negative secondary characters in the work “Oblomov” is Tarantiev. He was far from perfect and also had criminal tendencies. Like most officials of that time, he did not do his job at all. He was very lazy and did not want to fuss with office papers. For 25 years of service, he remained an ordinary clerk in the office, without rising or moving up one step in his career.

Despite his lack of education, Tarantiev was a very intelligent person. He was well versed in legal issues and could give practical advice on life issues. Mikhei Tarantyev was a swindler, he often fooled people, borrowed money and did not give it back, and always ate at the expense of others. A man with no moral principles was ready to deceive at every turn. Tarantiev was never embarrassed by his sloppy clothes; it even seemed that in this way he showed his contempt for people.

Oblomov was his good friend and fellow countryman, he treated him well and was ready to help him. Oblomov saw Tarantiev’s reluctance to move on. Mikhei Tarantyev was very rude, often spoke insultingly, all this complemented his very angry appearance. Of course, such bad behavior and appearance could not inspire confidence in the people he deceived. But that was the essence of this character.

Goncharov introduced the image of Mikhei Andreevich Tarantiev for a more colorful description of the life of the main character of the work “Oblomov”. He wanted to show that the lives of Oblomov and Mikhei Tarantiev have some similarities in life goals, but at the same time they have great differences. Tarantiev wanted to ingratiate himself with the main character and take away all his acquired property. He does everything to make Oblomov believe that he wants to help him run the household. Stolz stands in his way, who ultimately exposes Tarantiev. By the end of the work, the main character of the work, Oblomov, who treated Mikhei Andreevich quite well, nevertheless realized his true essence. He, having exposed the machinations carried out by Tarantiev, kicked him out of his house. After this, Oblomov stops all communication with him.

Several interesting essays

Yulia Tafaeva in the novel An Ordinary Story of Goncharov
“An Ordinary Story” by Goncharov is a very revealing novel from the point of view that life is such an unpredictable thing that it is simply impossible to imagine any kind of future for yourself in it.
Analysis of Turgenev's story The District Doctor
She is a young beautiful and modest girl named Alexandra, the daughter of a poor writer. She received a good upbringing and education, but lives in the wilderness with her mother and two sisters. All property - a small house, books, and several peasant families
Essay based on Levitan's painting Forest Lake (description)
This painting, like many other works of the artist, speaks of true love for one’s homeland.
The image and characteristics of Sanka in Astafiev’s story The Horse with a Pink Mane
Sanyok is a boy who is the ringleader of the local hooligans, forcing them to do various dirty tricks, which is why the adults around him do not want their children to hang out with someone like him
Essay Analysis of the story The Young Lady-Peasant by Pushkin
“The Peasant Young Lady” is one of the light works of A. S. Pushkin, in which a simple and even playful story ends with the wedding of the main characters.

OBLOMOV

(Novel. 1859)

Tarantiev Mikhey Andreevich - fellow countryman of Oblomov. Where he came from and how he gained the trust of Ilya Ilyich is unknown. T. appears on the very first pages of the novel - “a man of about forty, belonging to a large breed, tall, bulky in the shoulders and throughout the body, with large facial features, a large head, a strong, short neck, large protruding eyes, thick lips . A quick glance at this man gave rise to the idea of something rude and unkempt.”

This type of bribe-taking official, a brute, ready to scold everyone in the world every minute, but at the last minute cowardly hiding from well-deserved reprisals, was not discovered in literature by Goncharov. It became widespread precisely after Goncharov, in the works of M. E. Saltykov-Shchedrin, A. V. Sukhovo-Kobylin. T. is that “coming Ham” who gradually reigned throughout Russia and who grew into a formidable symbol in the image of Sukhovo-Kobylin’s Rasplyuev.

But T. has one more interesting feature. “The fact is that Tarantiev was a master only of talking; in words he decided everything clearly and easily, especially with regard to others; but as soon as it was necessary to move a finger, to get under way - in a word, to apply the theory he had created to the case and give it a practical move... he was a completely different person: he was missing here...” This trait, as is known, characterizes not only the rude and uncouth characters of the named writers, but to some extent “superfluous people”. Like T., they also remained “theoreticians for life,” applying their abstract philosophy to places and places out of place. Such a theorist needs a number of practices that could bring his plans to life. T. finds himself a “godfather”, Ivan Matveevich Mukhoyarov, a morally unscrupulous man, ready for any meanness, who does not disdain anything in his thirst for accumulation.

T. hates Stolz, calling him a “sleazy beast.” Out of fear that Stolz will nevertheless take Oblomov abroad or to Oblomovka, T., with the assistance of Mukhoyarov, is in a hurry to force Ilya Ilyich to sign a predatory contract for an apartment on the Vyborg side. This contract deprives Oblomov of the possibility of any action. Following this, T. persuades Mukhoyarov, “before there are no more boobies in Rus',” to marry Oblomov to a new manager of the estate, Isaiah Fomich Zatertoy, who is very successful in bribes and forgeries.
T.’s next step is to put into practice (with the help of the same Mukhoyarov) the idea of Oblomov’s “debt”. As if offended by his sister’s honor, Mukhoyarov should accuse Ilya Ilyich of laying claim to the widow Pshenitsyna and sign a document for compensation for moral damage in the amount of ten thousand rubles. The paper is then rewritten in the name of Mukhoyarov, and the godfathers receive money from Oblomov.

What do Oblomov and Terentyev have in common? Report: Characteristics of the main characters of the novel Oblomov

Mikhei Tarantiev

Stolz

Other works on this topic:

Composition by Mikhei Tarantiev

Several interesting essays