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 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. 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.
Tarantiev Mikhey Andreevich - characteristics of the character
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 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.
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.
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.
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.
Mikhey Andreevich Tarantiev is a character that appeared from the first pages of the novel Oblomov, a fellow countryman of the protagonist, who managed to ingratiate himself for a while. Outwardly, he resembles a rude and untidy bribe-taking official, of which there were many then. He is large and voluminous in the shoulders, looks 40 years old, has a large head and a short neck, thick lips and bulging eyes. In words, he could solve anything, but when it came to actions, 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 person and did not disdain anything in pursuit of money. He is the brother of Agafya Pshenitsyna, who is constantly trying to push her around. The goal of Tarantiev is not just to ingratiate himself with Oblomov, but also to seize the property of the protagonist.
At first, he believes that Mikhei Andreevich wants and can help him with the estate and housekeeping. Gradually, Stolz intervenes in this matter, whom Tarantyev hates fiercely, not so much because he is half German, but because of the fear of exposing his machinations. To achieve his dishonorable goals, Tarantiev is ready for anything. He is even ready to convict Oblomov in connection with Pshenitsyna, so that with the help of Mukhoyarov he will receive a decent penalty for “moral” damage. Stolz nevertheless exposes the villain, and he disappears from the pages of the novel. He is mentioned only at the very end by the servant of Ilya Ilyich - Zakhar. He tells how Tarantiev did not let him live and took revenge for the neglect shown by the servant. And Zakhar only defended the master's property and openly grumbled at the intruder.
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 skull as bare as 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.
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.
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 lie, 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 labor and beauty, to present an ideal family, a true ideal that Oblomov does not succeed in 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.
