That extorted terentyev from Oblomov. Report: Characteristics of the main characters of the Oblomov novel. Composition by Mikhey Tarantiev

Where he came from and how he got into the confidence 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 features, with a large head, with a strong, short neck, with large protruding eyes, thick-lipped. A cursory glance at this man gave rise to the idea of something rough and unkempt. " But Tarantiev has another curious feature. “The fact is that Tarantiev was a master only of speaking; in words he decided everything clearly and easily, especially with regard to others; but as soon as it was necessary to move a finger, move off - in a word, apply the theory he had created to the case and give him practical move ... he was a completely different person: he was missing here ... "This trait, as you know, characterizes not only the rude and uncouth characters of the named writers, but to some extent "superfluous people." Like Tarantiev, they also remained "theoreticians for life", applying their abstract philosophy to the place and not to the place. Such a theoretician needs a number of practices that could bring his ideas to life. Tarantiev finds himself a "godfather" Ivan Matveyevich 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 the worries on the estate, in changing the apartment. Gradually, not without the influence of Olga Ilyinskaya and Andrei Stolz, Ilya Ilyich begins to understand what a quagmire Tarantyev is trying to drag him into, slowly forcing Oblomov to sink to the very bottom of life. Tarantiev's attitude towards Stolz is not so much the contempt of a Russian person for a German, with which Tarantiev rather hides behind, but the fear of exposing the grandiose machinations that he hopes to bring to an end. It is important to him with the help of trusted

Take possession of Oblomovka, receiving interest from the income of Ilya Ilyich, and even confuse him himself, having obtained proof of Oblomov’s connection with Pshenitsyna. Tarantiev hates Stolz, calling him a "purge beast". Out of fear that Stolz would still take Oblomov abroad or to Oblomovka, Mikhei Andreevich hurries, 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 whatsoever.

Following this, Tarantiev persuades Mukhoyarov, "until the boobies are gone in Rus'", to have time to marry Oblomov the new manager of the estate, Isai Fomich Zated, very successful in bribes and forgeries. Mikhey Andreevich's next step is to put into practice (with the help of the same Mukhoyarov) the idea of \u200b\u200bOblomov's "debt". As if offended for the honor of his sister, Mukhoyarov must accuse Ilya Ilyich of claims to the widow Pshenitsyna and sign a paper on 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 the exposure of these machinations by Stolz, Tarantiev disappears from the pages of the novel. Only at the very end is he mentioned by Zakhar, who, when meeting with Stolz at 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 kill him from the world. "Mikhei Andreevich Tarantiev strove all the way, as you pass by, hit yoga from behind: there was no life!" Thus, Tarantiev took revenge on Zakhar for the neglect shown by the servant at the time when Mikhei came to Oblomov to dine and ask for either a shirt, or a vest, or a tailcoat - of course, without return. Each time, Zakhar stood up for the protection of the master's good, grumbling like a dog at an intruder and not hiding his feelings for a low person.

Material for composition. Tarantiev Mikhey Andreevich - characteristics of a literary hero (character)

Tarantiev Mikhey Andreevich

OBLOMOV
Roman (1849-1857, publ. 1859)

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

But T. has another curious feature. “The fact is that Tarantiev was a master only to speak; in words he decided everything clearly and easily, especially as regards others; but as soon as it was necessary to move a finger, move off - in a word, apply the theory he created to the case and give it a practical move ... he was a completely different person: here he was not enough ... ”This trait, as you know, 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 the place and not to the place. Such a theoretician needs a number of practices that could bring his ideas to life. T. finds himself a "godfather" Ivan Matveyevich 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 blowing beast." Out of fear that Stolz will still 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 whatsoever. Following this, T. persuades Mukhoyarov, “until the boobies are gone in Rus',” to have time to marry Oblomov to the new manager of the estate, Isai Fomich Zated, 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 for the honor of his sister, Mukhoyarov must accuse Ilya Ilyich of claims to the widow Pshenitsyna and sign a paper on 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 the exposure of these machinations by Stolz, T. disappears from the pages of the novel. Only at the very end is he mentioned by Zakhar, who, when meeting with Stolz at 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 kill him from the world. “Mikhei Andreevich Tarantyev strove everything, as you pass by, kick him from behind: there was no more life!” Thus, T. took revenge on Zakhar for the neglect shown by the servant in those days when T. came to Oblomov to dine and ask for either a shirt, or a vest, or a tailcoat - of course, without return. Each time, Zakhar stood up for the protection of the master's good, grumbling like a dog at an intruder and not hiding his feelings for a low person.

Agafya Pshenitsyna

Pshenitsyna Agafya Matveevna - the widow of an official, the illegal wife of Oblomov. “She was about 30 years old. She was very white and full in the face. She had almost no eyebrows at all ... Her eyes were grayish-innocent, like the whole expression of her face; the arms are white, but hard, with large knots of blue veins protruding."
Before Oblomov, P. lived without thinking about anything. She was completely uneducated, even stupid. She was not interested in anything but housekeeping. But in this she excelled.
P. was in constant motion, realizing that "there is always work." It was the work that was the content and meaning of the life of this heroine. In many ways, it was precisely with her activity that P. captivated Oblomov.
Gradually, with the justification of Oblomov in her house, important changes take place in P.'s nature. Anxieties, glimpses of thoughts, and finally, love awaken in her. Her heroine manifests in her own way, taking care of clothes and a table for Oblomov, praying for his health, caring for the hero at night during his illness. “All her household ... received a new, living meaning: the peace and comfort of Ilya Ilyich ... She began to live in her own way, fully and diversely.” P. is the only absolutely disinterested and decisive person surrounded by Oblomov. For his sake, she is ready to do anything: pawn jewelry, borrow money from the relatives of her late husband. When P. learns about the intrigues of the "brother" and godfather against Oblomov, she does not hesitate to break off all relations with them. P. and Oblomov have a son. Realizing his difference from the rest of his children, P. after the death of Oblomov meekly gives him up to be raised by Stolz. Becoming a widow, P. realized that she had the meaning of life, she "knew why she lived and that she did not live in vain." At the end of the novel, P.'s disinterestedness manifests itself with renewed vigor: she does not need reports from the Oblomov estate and income from it. The light of life P. died out along with the life of Oblomov.

Zakhar

Zakhar is Oblomov's servant. This is “an elderly man, in a gray frock coat, with a hole under his arm ... with a bare skull, like a knee, and with immensely wide, thick, gray-haired blond sideburns ...”
Z. is lazy and sloppy. Everything that Z. touches breaks and beats. He can serve food to Oblomov on dirty or beaten dishes, he can serve food raised from the floor, etc. He justifies this philosophically: everything that is done is pleasing to the Lord, and this is not worth fighting. But the outward looseness of Z. is deceptive. He cares about the master's good, knows him without fail. Despite Tarantiev's pressure, Z. does not give him anything from the master's clothes, confident that he will not return it. 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 refinement and depravity of morals. He likes to drink with friends, gossip with other servants, either praising or belittling his master. On occasion, Z. can also pocket money for himself, change from a store, for example. The life of Z. is closely connected with the life of Oblomov. The last two representatives of Oblomovka, each in their own way, sacredly keep her testaments in their souls. Even when Z. marries the cook Anisya, he tries not to let her see the master, but does everything for him himself, considering this his inviolable duty. Z.'s life ends with the life of Oblomov. 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 Stoltz meets him and offers to take him to the village. But the faithful servant refuses: he cannot leave the grave of his master unattended.

Mikhey Tarantiev

Tarantiev Mikhey Andreevich - Oblomov's countryman. Where he came from and how he got into 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, voluminous in the shoulders and throughout the body, with large features, with a large head, with a strong, short neck, with large protruding eyes, thick-lipped . A cursory glance at this man gave rise to the idea of something rough and unkempt.
This type of bribe-taking official, a rude person, ready to scold everyone in the world every minute, but at the last minute cowardly hiding from a well-deserved reprisal, was not discovered in literature by Goncharov. It was after Goncharov that it became widespread, in the works of M.E. Saltykov-Shchedrin, A.V. Sukhovo-Kobylin. T. is that “coming Ham”, which gradually reigned throughout Russia and which grew into a formidable symbol in the image of the Sukhovo-Kobylin Rasplyuev.
But T. has another curious feature. “The fact is that Tarantiev was a master only to speak; in words he decided everything clearly and easily, especially as regards others; but as soon as it was necessary to move a finger, move off - in a word, apply the theory he created to the case and give it a practical move ... he was a completely different person: here he was not enough ... "This trait, as you know, 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 the place and not to the place. Such a theoretician needs a number of practices that could bring his ideas to life. T. finds himself a "godfather" Ivan Matveyevich 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 the worries on the estate, in changing the apartment. Gradually, not without the influence of Olga Ilyinskaya and Andrei Stolz, Ilya Ilyich begins to understand what a 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 person for a German, with whom T. rather hides behind, but the fear of exposing the grandiose machinations that T. hopes to bring to an end. It is important for him, with the help of proxies, to seize Oblomovka, receiving interest on the income of Ilya Ilyich, and even to confuse him himself, having obtained proof of Oblomov’s connection with Pshenitsyna.
T. hates Stolz, calling him "a blowing beast." Out of fear that Stolz will still 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 whatsoever. Following this, T. persuades Mukhoyarov, “until the boobies are gone in Rus',” to have time to marry Oblomov to the new manager of the estate, Isai Fomich Zated, 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 for the honor of his sister, Mukhoyarov must accuse Ilya Ilyich of claims to the widow Pshenitsyna and sign a paper on 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.

This is how the main character appears to the reader at the very beginning of the novel: “He was a man of about thirty-two or three years old, of medium height, of pleasant appearance, with dark gray eyes, but with the absence of any definite idea, any concentration in facial features ... His movements when he was even alarmed, they were also restrained by softness and laziness, not devoid of a kind of grace. All anxiety was resolved with a sigh and faded into apathy or drowsiness. Lying down with Ilya Ilyich 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, a cobweb saturated with dust was molded in the form of festoons; mirrors, instead of reflecting objects, could rather serve as tablets for writing down some memoirs on them over the dust.”

Before us appears a character far from impartial, it seems that laziness, passivity, 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 gets acquainted with Oblomov's positive qualities: purity of thoughts, honesty, kindness, cordiality.

For a more complete disclosure of Oblomov's character, Goncharov contrasts him with other heroes of the novel, Andrei Stolz and Olga Ilyinskaya.

Stolz is, of course, 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 in the education of heroes.
The author makes one involuntarily compare the childhood of little Andrei with the childhood of Ilyusha. Unlike Stolz, who grew up under the tutelage of his father, independent, stubborn in achieving his goals, 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 in Ilya Ilyich an apathetic immobility and plunged him into the miserable 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 instilled a force capable of reviving the Oblomovs and destroying the Oblomovs, considers it his duty to change the way of life of his friend.

Andrei tries to "walk" Ilya Ilyich into 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 sight, word, deed ... no lie, no tinsel, no intent !" Olga in the novel is the embodiment of grace, concentration, lightness. Oblomov is immediately captivated by the amazing voice of the girl, listening to her magnificent "Casta diva". At the request of Stolz, Olga draws up a plan for how she will take advantage of Oblomov's love in order to "remake" him into an active, active person. Olga understands that in relations with Oblomov she has the main role, "the role of a guiding star." She was transformed along with Oblomov's changes, because these changes are the work of her hands. “And she will do all this miracle ... She even trembled with proud, joyful awe; I considered it a lesson appointed from above. In the course of her experiment, Olga falls in love with Oblomov, which brings her whole plan to a standstill and leads to tragedy in their further relationship.

Oblomov and Olga expect the impossible from each other. She is from him - activity, will, energy. In her view, he should become like Stolz, but only retain the best that is in his soul. He is from her - reckless, selfless love. But Olga loves that 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 - and you died a very long time ago,” Olga says 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,” Elijah replies. - 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 ailment as Oblomovism. In the course of the novel, Oblomov set himself many tasks that, it would seem, are of paramount importance to him: to reform 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 evicted . But a terrible "disease" does not allow him to get down to business, she "dumped him 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 eternal sleep.

Olga Ilinskaya

Olga Sergeevna Ilyinskaya - Oblomov's beloved, Stolz's wife, a 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 sight, word, deed ... no lies, no tinsel, no intent !"
The author emphasizes the rapid spiritual development of his heroine: she "as if listening to the course of life by leaps and bounds."

O. and Oblomov introduces Stolz. Ilya Ilyich is immediately captivated by the amazing voice of the girl. 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 trembled with proud, joyful awe; I considered it a lesson appointed from above. O. understands that in relations with Oblomov she has the main role, "the role of a guiding star." She was transformed along with Oblomov's changes, because these changes are the work of her hands. But the mind and soul of the heroine required further development, and Ilya Ilyich changed very slowly, reluctantly and lazily. O.'s feeling resembles rather the experience of re-educating Oblomov than sincere first love. She does not inform Oblomov that all affairs on her estate have been settled only in order to “follow 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 relationship with him: “... you are ready to coo all your life under the roof ... 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 above her. But even Stolz, whom she will marry, does not succeed. "The deep abyss of her soul" haunts O. rest. She is doomed forever striving for development and a richer, spiritually rich life.

Stolz

STOLZ is the central character in I.A. Goncharov's novel "Oblomov" (1848-1859). The literary sources of Sh.'s image are Gogol's Konstanzhonglo and the merchant Murazov (the 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 opposite qualities as, on the one hand, sobriety, prudence, efficiency, knowledge of people of a practical materialist should have been harmoniously combined; on the other - spiritual subtlety, aesthetic susceptibility, high spiritual aspirations, poetry. Thus, the image of Sh. is created by these two mutually exclusive elements: the first comes from his father, a pedantic, stern, rude German (“his father put him with him on a spring cart, gave the reins and ordered him to be taken to the factory, then to the fields, then to the city , to merchants, to offices"); the second - from her mother, a Russian, poetic and sentimental nature ("she rushed to cut Andryusha's nails, curl her curls, sew elegant collars and shirt-fronts, sang to him about flowers, dreamed of a high role with him about the poetry of life ..."). His mother was afraid that Sh., under the influence of his father, would become a rude burgher, but Sh.’s Russian environment prevented (“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 aristocratic life, met with 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 the estate). Sh. brilliantly graduates from the university, serves with success, retires to do his own thing; makes a house and money. He is a member of a trading company that sends goods abroad; as an agent of the company, Sh. travels to Belgium, England, throughout Russia. Sh.'s image is built on the basis of the idea of balance, the harmonic correspondence of the physical and spiritual, mind and feelings, suffering and pleasure. Sh.'s ideal is measure and harmony in work, life, rest, and love. The portrait of Sh. contrasts with the portrait of Oblomov: “He is all 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 fat roundness ... "The ideal of Sh.'s life is unceasing 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. passes the test of love. He meets the ideal of Olga Ilyinskaya: Sh. combines masculinity, fidelity, 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 present an ideal family, a true ideal that fails in Oblomov’s life: “we worked together, dined, went to the fields, made music as Oblomov dreamed ... Only there was no drowsiness, despondency with them, they spent their days without boredom and without apathy; there was no languid look, no word; the conversation did not end with them, it was often hot. In friendship with Oblomov, Sh. also turned out to be on top: he replaced the rogue manager, destroyed the intrigues of Tarantiev and Mukhoyarov, who tricked Oblomov into signing a fake loan letter.
The image of Sh., according to Goncharov, was supposed to embody a new positive type of Russian progressive figure (“How many Stoltsev should appear under Russian names!”), Combining both the best Western tendencies and Russian breadth, scope, spiritual depth. Type Sh. was supposed to turn Russia onto the path of European civilization, to give it the proper dignity and weight in the ranks of European powers. Finally, S.'s efficiency does not come into conflict with morality; the latter, on the contrary, complements efficiency, gives it inner strength and strength.
Contrary to Goncharov's intention, utopian features are palpable in the image of Sh. Rationalism and rationalism, embedded in the image of Sh., damages artistry. Goncharov himself was not entirely satisfied with the image, believing that Sh. was “weak, pale,” that “an idea peeps out of him too nakedly.” Chekhov expressed himself more sharply: “Stoltz does not inspire any confidence in me. The author says that this is a magnificent fellow, but I do not believe it. This is a puristic beast who thinks very well of himself and is pleased with himself. It is half composed, three-quarters stilted" (letter 1889). The failure of the image of Sh., perhaps, is due to the fact that Sh. is not artistically shown in the large-scale activity in which he is successfully engaged.

Tarantiev! Oblomov shouted menacingly.

What are you screaming? I myself will scream to the whole world that you are a fool, you brute! shouted Tarantiev. - I and Ivan Matveich looked after you, took care of you, as if serfs served you, walked on tiptoe, looked into your eyes, and you surrounded him in front of the authorities: now he is without a place and without a piece of bread! This is low, vile! You must now give him half of the fortune, give him a bill in his name: you are not drunk now, in your mind, come on, I tell you, I won’t go out without that ...

Why are you shouting like that, Mikhey Andreevich? - said the hostess and Anisya, looking out from behind the doors. - Two passers-by stopped, listening to what kind of scream ...

I will shout, - Tarantyev yelled, - let this fool be ashamed! Let this swindler German blow over you, since he has now collided with your mistress ...

There was a loud bang in the room. Struck by Oblomov on the cheek, Tarantiev instantly fell silent, sank into a chair and turned around in amazement with stupefied eyes.

What is this? What is it? What is this! - pale, choking, he said, holding his cheek. - Disgrace? You will pay me for this! Now a request to the Governor-General: have you seen?

We haven't seen anything! both women said with one voice.

A! Here is a conspiracy, here is a robber's den! A bunch of scammers! Robbed, killed...

Wow, bastard! shouted Oblomov, pale, shaking with rage. - This minute, so that your leg is not here, or I will kill you like a dog!

He looked for sticks with his eyes.

Fathers! Robbery! Help! shouted Tarantiev.

Zakhar! Throw this scoundrel out, and don't dare to show his eyes here! shouted Oblomov.

Please, here is God for you, and here are the doors! - said Zakhar, pointing to the icon and the door.

I didn’t come to you, I came to my godfather, - Tarantyev yelled.

God with you! I don't need you, Mikhey Andreevich," said Agafya Matveyevna, "you went to your brother, not to me! You are worse than a bitter radish to me. Drinking, eating, and even barking.

A! so, godmother! Okay, here's a brother to let you know! And you will pay me for dishonor! Where is my hat? Damn you! Robbers, murderers! he shouted as he walked across the yard. - You will pay me for dishonor!

The dog jumped on the chain and burst into barking.

After that, Tarantiev and Oblomov did not see each other anymore.

Stolz did not come to St. Petersburg for several years. Once he only looked for a short time at Olga's estate and at Oblomovka. Ilya Ilyich received a letter from him, in which Andrei persuaded him to go to the village and take over the estate put in order, and he himself and Olga Sergeevna left for the southern coast of Crimea, for two purposes: for his business in Odessa and for the health of his wife upset after childbirth.

They settled in a quiet corner, on the seashore. Their house was modest and small. Its internal structure also had its own style, like the external architecture, like all the decoration, it bore the stamp of the thoughts and personal taste of the owners. They themselves brought a lot of good things with them, sent them a lot of bales, suitcases, carts from Russia and from abroad.

A lover of comfort, perhaps, would shrug his shoulders, glancing at the whole outer variety of furniture, dilapidated paintings, statues with broken arms and legs, sometimes bad, but precious from memory engravings, trifles. Would the eyes of a connoisseur burn more than once with the fire of greed when looking at this or that picture, at some book yellowed by time, at old porcelain or stones and coins.

But amidst this age-old furniture, paintings, among those that had no meaning to anyone, but marked for both of them by a happy hour, a memorable minute of trifles, in an ocean of books and notes, a warm life wafted, something irritating the mind and aesthetic sense: everywhere there was or was not dormant thought, or the beauty of human deed shone, as the eternal beauty of nature shone all around.

A high desk, like Fr. Andrei's, found a place here, suede gloves hung in the corner, and an oilcloth cloak near a cupboard with minerals, shells, stuffed birds, samples of various clays, goods, and other things. Among everything, in a place of honor, shone, in gold with inlay, Erar's wing.

A net of grapes, ivy and myrtle covered the cottage from top to bottom. From the gallery one could see the sea, on the other hand - the road to the city.

There Olga guarded Andrei when he left home on business, and, seeing him, she went downstairs, ran through a magnificent flower garden, a long poplar avenue, threw herself on her husband’s chest, always with cheeks glowing with joy, with a sparkling look, always with the same heat impatient happiness, despite the fact that not the first and not the second year of her marriage has already begun.

Stolz looked at love and marriage, perhaps in an original, exaggerated way, but, in any case, independently. And here he took a free and, as it seemed to him, a simple path, but what a difficult school of observation, patience, labor he endured until he learned to take these "simple steps"!

From his father, he took over to look at everything in life, even at trifles, without joking, perhaps he would have adopted from him the pedantic severity with which the Germans accompany their gaze, every step in life, including marriage.

Like a table on a stone tablet, the life of old Stolz was openly inscribed to everyone and everyone, and there was nothing more to mean by it. But the mother, with her songs and gentle whispers, then the princely house of various characters, then the university, books and the world - all this led Andrei away from the straight track outlined by his father, Russian life drew its own invisible patterns and made a bright, wide picture from a colorless table.

Andrei did not impose pedantic shackles on feelings and even gave legal freedom, trying only not to lose the "ground from under his feet", pensive dreams, although, sobering up from them, due to his German nature or something else, he could not refrain from the conclusion and endured some vital note.

He was awake in body because he was awake in mind. He was frisky, playful in adolescence, and when he was not naughty, he was engaged, under the supervision of his father, in business. There was no time for him to blur in dreams. His imagination did not decay, his heart did not deteriorate: the purity and virginity of both were vigilantly guarded by his mother.

As a youth, he instinctively protected the freshness of his strength, then he began to discover early that this freshness gives birth to vivacity and gaiety, forms that masculinity in which the soul must be tempered so as not to turn pale before life, whatever it may be, to look at it not as on a heavy yoke, a cross, but only as a duty and worthy to endure the battle with it.

He devoted a lot of mental care to the heart and its intricate laws. Observing consciously and unconsciously the reflection of beauty on the imagination, then the transition of the impression into a feeling, its symptoms, a game, an outcome, and looking around him, moving into life, he developed the conviction that love, with the power of the Archimedean lever, moves the world that lies in it. as much universal, irrefutable truth and goodness as there are lies and ugliness in its misunderstanding and abuse. Where is the good? Where is evil? Where is the border between them?

When asked: where is the lie? - in his imagination, the colorful masks of the present and the past stretched out. With a smile, now blushing, now frowning, he looked at the endless procession of heroes and heroines of love: at the Don Quixotes in steel gloves, at the ladies of their thoughts, with fifty years of mutual fidelity in separation, at the shepherds with ruddy faces and bulging innocent eyes and at their Chloe with lambs.

Powdered marquises appeared in front of him, in lace, with eyes twinkling with intelligence and with a depraved smile, then Werthers who had shot themselves, hanged themselves and strangled themselves, then withered virgins, with eternal tears of love, with a monastery, and mustachioed faces of recent heroes, with violent fire in their eyes, naive and conscientious don Juan, and smart people, trembling suspicions of love and secretly adoring their housekeepers ... everything, everything!

When asked: where is the truth? - he searched far and near, in his imagination and through his eyes, for examples of a simple, honest, but deep and inseparable rapprochement with a woman and did not find, if he seemed to find it, it only seemed, then he had to be disappointed, and he thought sadly and even despaired.

“Evidently this blessing has not been given in its entirety,” he thought, “or those hearts that are illuminated by the light of such love are shy: they become shy and hide, not trying to challenge the wise men, perhaps they pity them, forgive them in the name of their own.” happiness that they trample a flower in the mud, for lack of soil where it could take deep roots and grow into a tree that would overshadow all life.

He looked at marriages, at husbands, and in their relations with their wives, he always saw the sphinx with its riddle, everything seemed to be something incomprehensible, unsaid, and yet these husbands do not think about tricky questions, they walk along the marriage road with such an even, conscious step, as if there is nothing for them to decide and look for.

"Are they not right? Maybe nothing more is really needed," he thought to himself with incredulity, watching how some quickly pass love as the ABC of matrimony or as a form of politeness, as if bowing, entering society, and - get down to business!

They impatiently let the spring of life off their shoulders, many even look askance at their wives for the whole century, as if annoyed that they once had the stupidity to love them.

Love does not leave others for a long time, sometimes until old age, but the smile of a satyr never leaves them ...

Finally, most of them marry, as they take the estate, enjoy its significant benefits: the wife brings the best order to the house - she is the mistress, mother, mentor of children, and they look at love, how the practical owner looks at the location of the estate, that is, immediately gets used to it and then never notices it.

What is it: an innate incapacity due to the laws of nature, he said, or a lack of training, education? .. Where is this sympathy, which never loses its natural charm, does not dress in a buffoon's outfit, changes, but does not go out? What is the natural color and color of this all-pervading goodness, this juice of life?

He peered prophetically into the distance, and there, as if in a fog, an image of feeling appeared to him, and with it a woman dressed in its light and shining with its colors, an image so simple, but bright, pure.

Dream! dream! - he said, sobering up, with a smile, from the idle irritation of the thought. But the sketch of this dream lived against his will in his memory.

At first he dreamed in this image of the future of a woman in general, when he later saw, in Olga, who had grown up and matured, not only the luxury of blossoming beauty, but also a force ready for life and thirsting for understanding and struggle with life, all the makings of his dream, in him a long-standing, almost forgotten image of love arose, and Olga began to dream in this image, and far ahead it seemed to him that truth was possible in their sympathy - without a buffoon's outfit and without abuse.

Without playing with the question of love and marriage, without confusing any other calculations, money, connections, places, Stolz, however, thought about how his external, still tireless activity would be reconciled with his internal, family life, as from a tourist, merchant, he will turn into a family homebody? If he calms down from this external bustle, what will his life at home be filled with? The upbringing, education of children, the direction of their lives, of course, is not an easy and empty task, but it is still far from it, but until then what will he do?

Tarantiev Mikhey Andreevich - characteristics of the character

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

But T. has another curious feature. “The fact is that Tarantiev was a master only to speak; in words he decided everything clearly and easily, especially as regards others; but as soon as it was necessary to move a finger, move off - in a word, apply the theory he created to the case and give it a practical move ... he was a completely different person: here he was not enough ... "This feature, as you know, characterizes not only rude and uncouth characters of these writers, but to some extent "superfluous people". Like T., they also remained “theoreticians for life”, applying their abstract philosophy to the place and not to the place. Such a theoretician needs a number of practices that could bring his ideas to life. T. finds himself a "godfather" Ivan Matveyevich Mukhoyarov, a morally unscrupulous man, ready for any meanness, who does not disdain anything in his thirst for accumulation.

After the exposure of these machinations by Stolz, T. disappears from the pages of the novel. Only at the very end is he mentioned by Zakhar, who, when meeting with Stolz at 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 kill him from the world. “Mikhei Andreevich Tarantyev strove everything, as you pass by, kick him from behind: there was no more life!” Thus, T. took revenge on Zakhar for the neglect shown by the servant in those days when T. came to Oblomov to dine and ask for either a shirt, or a vest, or a tailcoat - of course, without return. Every time he stood up for the protection of the master's good, grumbling like a dog at an intruder and not hiding his feelings for a low person.