In the preface to the novel “Hero of Our Time,” Lermontov defines his writing task - to draw “ modern man“, “a portrait made up of the vices of our entire generation.” Belinsky called the novel “a sad thought about our time.”
The peculiarity of the novel is that the portrait of time is drawn as the story of one human soul. Pechorin himself, reflecting on his life, finds in it much in common with the fate of his generation. “We are no longer capable of making great sacrifices, either for the good of humanity, or even for our own happiness, because we know its impossibility and indifferently move from doubt to doubt.”
The task of recreating the story of one soul allowed Lermontov to draw the complex and contradictory character of the hero. There is a lot of cruelty and selfishness in Pechorin’s actions and thoughts. He treats Maxim Maksimych pointedly coldly, who enthusiastically greeted him after a long separation; is the cause of Bela's death; plays with the feelings of Princess Mary, so she believes that he is “worse than a murderer.” He talks cynically about friendship (“Of two friends, one is always the slave of the other”), about love (“Women love only those they do not know”), about happiness (“What is happiness? Saturated pride”), about suffering and joy others only in relation to oneself. Pechorin brings suffering to everyone he meets: Bela, “honest smugglers,” Mary, Grushnitsky, Maxim Maksimych.
But this does not prevent him from being very strict with himself. He calls himself a “moral cripple”, an “executioner” (“I play the pathetic role of an executioner”, “I played the role of an ax in the hands of fate”). He realizes that he has lived an empty and aimless life: “Why did I live? For what purpose was I born?” He does not see the meaning and joy in life: “I am like a man yawning at a ball, who does not go to bed only because his carriage is not yet there.” However, Pechorin's soul consists not only of dark sides. This is a hero who longs for love, goodness and beauty, and is capable of good. Sometimes his “cold, powerless despair” breaks through. Lermontov portrays his shock at Bela’s death (albeit hidden from prying eyes), his passionate tragic love to Vera, the ability to feel nature (in the scene before the duel with Grushnitsky).
The charm of Pechorin's personality lies in his sharp mind, in the ability to look at himself from the outside, in the strength of character, in the desire to create his own destiny. “I always move forward more boldly when I don’t know what awaits me.” Even in the pitiful Trutnitsky, he hopes to see the awakening of nobility and conscience.
With all the originality and uniqueness of Pechorin’s personality, his life is “a smooth path without a goal.” This is the tragedy of a “hero of his time.” What could Pechorin direct his rich spiritual potential to? The socio-psychological conditions of the era, which require blind obedience to traditions and obedience, do not provide space and true meaning in the life of such a person.
Disappointment and skepticism are also a feature of the times. Characterizing the Pechorin generation, Herzen wrote: “Forced to remain silent, we learned, withdrawing into ourselves, to harbor our thoughts - and what thoughts!.. They were doubts, denials, thoughts full of rage.”
The essay is also suitable for the topic “Features of romanticism and realism in the novel.” In his novel “Hero of Our Time” M.Yu. Lermontov wanted to show “the history of the human soul.” Despite the fact that Pechorin’s vices reflect the vices of an entire generation of youth in the 30s of the 19th century, this image is very individual. This is a very smart, educated, subtle person, not devoid of concepts of honor and dignity. The author builds a narrative scheme in a unique way, violating the chronology of the events of the work. This technique helps the author reveal the image of his hero much more deeply. At first, Pechorin is seen through the eyes of other people. Staff Captain Maxim Maksimych tells the traveling officer about him. This is how we learn about Pechorin, are outraged by his attitude towards the young Circassian Bela, and experience her tragic death together with Maxim Maksimych. But the staff captain only schematically outlines the image of Pechorin; from his words it is impossible to understand the full depth, complexity and inconsistency of this nature.
Then the wandering officer himself sees Pechorin and conveys to the readers his feelings: he guesses the secrecy of character (“he did not swing his arms while walking”), passion (wrinkles on the noble forehead, “indicated much more clearly in moments of anger or mental anxiety”), evil disposition, or rather , “deep constant sadness” (“his eyes did not laugh when he laughed”). External portrait the hero helps to better understand his character. Then Pechorin’s own diary appears on the pages of the novel. In it, the hero very accurately, deeply, truthfully describes his feelings and experiences. The reader is immersed in the complex inner world of the hero. “Taman”, “Princess Mary” and “Fatalist” are a vivid psychological self-portrait of Pechorin.
Despite the fact that Lermontov wrote “the history of the human soul,” neither the novel as a whole nor the “Journal” contains the history of Pechorin’s soul. Everything that would indicate the circumstances in which his character was formed and developed is omitted.
But in the story “Princess Mary” the inner world of the hero appears in especially detail. Lermontov uses all types of psychological introspection: the hero talks about the events of his life in the form of a chronicle diary.
“A Hero of Our Time” has features of both realism and romanticism. Realism mainly lies in the psychological nature of the novel. Pechorin is a typical representative of his time. The author deeply reveals his inner world, describes the experiences, thoughts, and feelings of the hero. Lermontov notes that Pechorin has “immense powers,” but he cannot fully realize them. This is due to the time and society in which the character of the main character was formed. The generation of the 30s saw a dark era of rejection of any ideals or aspirations.
At the same moment, the novel also contains features of romanticism. For example, in “Bel” a popular romantic plot was developed about the love of a European, brought up by civilization, for a “savage” who grew up among the “children of nature” and lives according to the laws of her tribe. But Lermontov does not idealize the highlanders; their morals are described quite realistically. The very image of Bela and her tragic death are romantic.
In "Taman" the image of "honest smugglers", especially the girl Ondine, is romantic.
The story "Fatalist" resembles a romantic novella based on philosophical theme. At the center of the heroes’ actions and thoughts was “predestination,” that is, fate, fate.
Thus, the novel “A Hero of Our Time” combines realistic and romantic features.
It was M. Yu Lermontov who first posed the problem in Russian literature lost generation. The writer expressed in his novel “Hero of Our Time” the deep duality of man, his strength and weakness. Passive rejection of social changes gave rise to loneliness, fears, doubts, and spiritual bitterness.
Main character In the novel, Pechorin was the spokesman for the vices of the entire generation. Critic V.G. Belinsky noticed that in Pechorin’s very vices there was something great hidden. The hero does not bow his head to time, does not go with the flow. In his understanding of the era, in his senseless protest, Pechorin failed, but his thoughts are painful thoughts the best people of that time.
Through his eyes the reader sees " water society", social events, representatives of the nobility, Grushnitsky, Dr. Werner. The generation of the 30s saw a dark era of rejection of any ideals or aspirations. This is the reason for the author’s condemnation of his generation: it is withering in inaction, passivity, and indifference. Lermontov's generation lived in fear and submission to the authorities. This is why there is such a close connection ideological content the entire novel and poem “Sadly I look at our generation.”
Showing the importance of environment and circumstances, Lermontov in the image of his hero focuses not on the process of his formation, but on the result of his development. The reader learns about the hero’s childhood and youth only from excerpts from his diary. Pechorin was formed as a personality in those circles of the noble intelligentsia, where it was fashionable to ridicule all sincere manifestations of a person. This left an imprint on his character and crippled the hero morally: “My colorless youth passed in a struggle with myself and the light; Fearing ridicule, I buried my best feelings in the depths of my heart; they died there.” Lermontov depicted not just a portrait of a hero of the era, but “the story of the human soul.”
Lermontov speaks in the preface about the typicality of his hero. But the author hopes that readers will find justification for the actions for which a person has been accused until now. Pechorin opens up to Maxim Maksimych, admits that he considers himself the cause of the misfortunes of others, he is tired of the pleasures of high society.
The hero believes that his soul is corrupted by light. He learned well the springs of society and “became skilled in the science of life.” The hero is closed in on himself and suffers from loneliness. Pechorin expected a lot from the transfer to the Caucasus, but soon the danger became familiar to him. Bela's love did not bring spiritual renewal. But Pechorin cannot remain alone. He is constantly attracted to communication with people. He is attracted by danger, everything that excites the blood.
Lermontov compares favorably with his other contemporaries in that he is concerned with questions of awareness of human existence, purpose and meaning of life. He feels immense powers within himself, but does not know how to use them.
The world around Pechorin is built on spiritual slavery - people torture each other in order to gain pleasure from the suffering of others. The offended person, in turn, dreams of only one thing - to take revenge on the offender, to humiliate not only him, but the whole society, the whole world.
Left alone with himself, Pechorin is merciless not only to his opponents, but also to himself. For all failures, he blames himself, first of all. Pechorin constantly feels his moral inferiority. He constantly talks about the two halves of the soul, that the best part of the soul has “dried up,” “evaporated, died.” The hero blames the world, people, time for his spiritual slavery, and is disappointed in everything that once pleased him. Starting from the second half of the 19th century century, Pechorin’s definition of “superfluous person” became firmly established. Lermontov sincerely regrets the bitter fate of his contemporaries, many of whom turned out to be superfluous people in their country. Arguing about whether there is predestination in life, Pechorin turns his life into a chain of experiments on himself and others. According to Lermontov, a generation that has lost faith in goodness and justice deprives itself of confidence in tomorrow. Pechorin himself notes that his generation is no longer capable of sacrifice.
As in the novel “Eugene Onegin” by A. S. Pushkin, in “Hero of Our Time” by M. Yu. Lermontov, approximately the same task is set - to draw a portrait of a person new era, a hero of new times.
Lermontov's novel is arranged in a very interesting way; it consists of five separate stories with independent plots, each of which gradually, step by step, reveals to us the image of the main character who unites all five stories.
Pechorin's name is first mentioned in the first story "Bela". Staff Captain Maxim Maksimych tells his interlocutor, the “wandering officer,” about Pechorin. The ingenuous and simple-minded old man tries his best to be objective and accurate, but there is a lot that remains incomprehensible in his story. He sincerely tries and cannot understand the character and inner experiences of Pechorin, and therefore he does not understand the motives of Pechorin’s actions, committed under the influence of painful reflection and mental contradictions to which the main character of the novel is subject. “Strange man” is all the staff captain can say, defining the character of his former colleague.
The second story slightly lifts the veil of mystery over Pechorin, since here he is shown through the eyes of the author, a man whose intellectual level is closer to Pechorin than Maxim Maksimych. The “wandering officer” is very observant, he is a subtle psychologist, and therefore even his fleeting meeting with the main character gives the reader the opportunity to better examine this “strange man.”
In the following chapters, which are “Pechorin’s Journal”, his diary, the hero himself talks about himself, analyzing his actions and giving them an assessment. From the very first pages of these chapters, it becomes clear that before us is an extraordinary, restless person, constantly searching for the meaning of life.
For some reason, it turns out that Pechorin constantly brings misfortune to others and causes pain to those loved ones with whom fate brings him together. Bela dies, the kindest and simple-minded Maxim Maksimych is offended by Pechorin’s indifference in his best feelings, the romantic idyll of “honest smugglers” is disrupted, Princess Mary is deceived in her love. So who is in front of us? A villain worthy of condemnation alone? But villains are unlikely to suffer, causing misfortune to others, the way Pechorin suffers. Egoist? Yes, of course, but the egoist is “suffering”, worthy not only of condemnation, but also of sympathy. It is not for nothing that Belinsky wrote that “Pechorin’s soul is rocky soil, but the earth has dried up from the heat of a fiery life: let suffering loosen it and water it with blessed rain, and it will grow lush, luxurious flowers.”
Gradually revealing Pechorin's contradictory character, his complex inner life, full of tossing and searching, Lermontov strives to show “the history of the human soul.” His “Hero of Our Time” is a deeply psychological novel, as if through a prism it examines from all sides an extraordinary figure, a rebel tirelessly searching for his place in life.
The hero's internal throwings are in complete harmony with his external throwings. It is no coincidence that Pechorin is always on the road. The author throws him either into a mountain village, or into a Caucasian fortress, or into a smugglers’ shack, or into the picturesque environment of a “water society.” It is symbolic that death overtakes him on the way.
Lermontov does not explain how and why his hero ended up in the Caucasus. Was he sent into exile? Perhaps, but another explanation seems more likely. Let’s reread what Pechorin himself recalls about his past: “My colorless youth passed in a struggle with myself and the light; Fearing ridicule, I buried my best feelings in the depths of my heart... I told the truth - they didn’t believe me: I began to deceive; Having learned well the light and springs of society, I became skilled in the science of life... Despair was born in my chest... I became a moral cripple...”
In the light of these words, one can rather assume that Pechorin himself fled to the Caucasus, where military operations were constantly taking place in those days, hoping in numerous dangers and risks to find the meaning of life that he sought in vain in a world that had morally crippled him.
Probably, Pechorin can be called a hero of his time precisely because of his restlessness, state of constant search, and originality, which is especially noticeable against the background of other characters in the novel. Take, for example, Maxim Maksimych. He is deeply decent and kind, but very limited; many years of conscientious service taught him not to burden himself with unnecessary thoughts about the meaning of life. Grushnitsky, he’s just a poser without the slightest signs of sincerity, realness; everything in it is a game and falsehood. Dr. Wagner belongs to a completely different type of people, he is smart and well versed in life, he is insightful and knows the value of the people around him. But at the same time, Wagner is a passive observer, contemplating everything from the outside and analyzing the events taking place from a safe distance. The main feature in Pechorin’s nature is his irrepressible activity, a constant desire to do something, to participate in something.
Such a person will not submit to blind fate, will not go with the flow.
It seems quite logical that Lermontov ends his novel with the story “Fatalist”, introducing an important philosophical problem. If a person’s fate is predetermined, then all his actions, all moral searches, attempts to change anything in this life lose all meaning.
This is what fatalists think. On the contrary, Pechorin argues with fate all the time, and always challenges it. In the person of Pechorin, Lermontov affirms the ideal of an active, active person who does not want to put up with circumstances.
Literary critics, starting with Belinsky, have repeatedly noted the similarities between Pechorin and Onegin. And indeed, they have a lot in common. They both - extra people in the society in which they lived, they both did not find use for the inclinations of their extraordinary nature, both experienced disappointment in monotonous, strictly regulated social pleasures, both tried to find their place and their purpose in life. Onegin, to some extent, succeeds in this; at the end of the novel he appears as a renewed man, capable of ardent love; Lermontov acts differently with Pechorin. It is as if he initially deprives Pechorin of his future; we even learn about his death not at the end, but in the middle of the novel. Perhaps the explanation for this is that Onegin is a representative of the Decembrist generation, whose fate had not yet been decided at that time, and Pechorin already belongs to another generation, there was already a defeat of the uprising on Senate Square, and new perspective not yet visible.
But nevertheless, after reading the novel there is no feeling of hopelessness. So the “hero of his time” stands before our eyes - a rebel and rebel, striving to change his destiny at any cost. This is how Lermontov portrayed Pechorin, this is how he himself was, who died in a duel at the twenty-seventh year of his life and managed to leave the deepest mark not only in the history of Russian literature, but also in the memory of the people who knew him.
« History of the human soul »
(based on the novel by M.Yu. Lermontov “Hero of Our Time”)
Educational and research work
Knowing well and deeply understanding the historical essence of the reality surrounding him, twenty-five-year-old Lermontov created the image of a hero of his time, in which he summarized a large amount of life material, the features of an entire generation living in the era of the Nicholas reaction.
Belinsky was the first to reveal the typical features of Pechorin - “a man with a strong will, courageous, inviting storms and anxiety.” The great critic explained the reasons for Pechorin’s duality and confidently stated that in this novel Lermontov is “the decider of important modern issues.”
Following the first preliminary review of Lermontov’s novel, Belinsky in the second half of May 1840 made a detailed analysis of “A Hero of Our Time,” which revealed the ideological and artistic value Lermontov's novel in Russian history public life and in the history of Russian literature. Ardently defending Pechorin from preachers of hypocritical official morality, Belinsky saw in the image of Pechorin the embodiment of the critical spirit of his time.
At the same time as Belinsky, shortly after Lermontov’s death, Gogol rated “A Hero of Our Time” even higher than his poetry: “No one has ever written such correct, beautiful and fragrant prose among us. Here you can see more depth into the reality of life - the future was being prepared great painter Russian life..."
Recreational-protective criticism, on the contrary, condemned Pechorin’s “immorality.” She condemned him and contrasted him with the image of Maxim Maksimych, which corresponded to her ideals. However, progressive youth, in solidarity with Belinsky, perfectly understood the meaning of the images of Pechorin and Maxim Maksimych, and Lermontov’s attitude towards them.
Creative history Lermontov's novel "A Hero of Our Time" can be restored only in the most general terms. Such meager materials have been preserved that it is not possible to trace in detail how this most significant work of our poet was created. The novel was created during a period when one of most important tasks both in Western European and Russian literature the task was to create a hero of his time, an advanced young man, talk about the attitude of this hero to the society that gave birth to him. Thus, from the ahistorical, abstract hero of early poems and poems, expressing the anxieties and impulses of the young poet, Lermontov moves on to the creation of living, concrete historical images, to the creation of “typical characters in typical circumstances” in his most significant creation, in the novel “Hero of Our Time” "
Psychological portraits in the novel
Women's images
It is surprising that Lermontov was able to so accurately and completely show in the novel all the diversity of characters and characteristics of people so different from each other. Not only men's, but also female images in the novel are very realistic. Among the women's ones the following can be distinguished: vivid images: Vera, Princess Mary and Bela.
The image of Bela is especially poetic in the novel. You can tell a lot about her even by her appearance. Bela’s grace and agility are often shown in dancing: “She grabbed her tambourine, began to sing, dance and jump...” “How she dances!” - Azamat praises her. Beautiful, tall, slender, Bela was attractive to many young people. But it was not only her exquisite beauty that attracted Pechorin’s attention. A proud and strong-willed nature, rebellious and strong - this is how Bela differed from all the girls Pechorin met. Even when Pechorin kidnapped her, she does not consider herself a captive, she did not submit to him, but fell in love with him as a free princely daughter: “And if this continues like this, then I myself will leave: I am not his slave, I am a princely daughter.” Passion, courage and pride merge in her character with touching femininity. Bitterly, passionately and devotedly loves Bela Pechorin. Story short life And tragic death Bela, told by Maxim Maksimych, leaves us with a feeling of sadness and deep regret for a long time.
Of all the women depicted in the novel, the most complex, diverse and interesting character is Vera. Her spiritual richness and complexity of nature distinguish her from the rest. Vera represents an original type of woman who can rightfully be called a martyr of her feelings. It cannot be said, however, that she loves blindly, slavishly, unconsciously. No, she knows how to distinguish Pechorin from other secular, outwardly cultured men; she knows how to understand and appreciate his subtle, artistic nature, the peculiar charm of his strong demonic character, his disappointment and charm... The image of Vera does not have everyday “illumination” or certainty. Her appearance is conveyed by the most general features, in Werner’s impersonal “passport” description of her it is impossible to catch anything clearly individualized, except perhaps for the consumptive complexion, and the most characteristic detail is
black mole on right cheek, does not define anything in Vera’s personality. From her entire external appearance, only one or two features remain, noted by Pechorin himself, but they do not so much show Vera as convey a psychological impression: “sweet voice”, “deep and calm eyes”... In the depiction of her inner world there are only three colors: love, jealousy, suffering, and, in fact, the last two are only shades of the all-consuming first. The situations in which she is shown are only meetings with Pechorin or a silent presence in the Ligovskys’ living room when he is there. We do not know anything about her lifestyle, nor about relationships with people (except for Mary, of whom she is jealous), nor about her mental horizons, we do not hear her conversations with anyone except Pechorin. Indeed, it seems that she exists outside the environment, almost outside of everyday life; everyday life is just a light decoration for her meetings with Pechorin. But all this is not a lack of attention of the author, not a weakness of Lermontov, but strictly justified by the design of artistic expediency. Faith should be like this, for it is the image of love itself, selfless, selfless, knowing no boundaries, crossing the prohibitions of the environment, losing nothing from the awareness of the shortcomings and vices of the beloved. Only such love can reveal the bitter and thirsty heart of Pechorin, who turns away from women “with character.” Lermontov almost completely expels any certainty of secular flavor from the image of Vera, and this is understandable: secularism and sincerity of feeling are hostile, mutually exclusive principles, and Vera is the feeling itself, knowing neither contradictions nor resistance. The line of relations between Pechorin and Vera is relegated to the background of the novel, while big, painful problems are in line - about activity, about goals, about society. She silently appears next to Pechorin, when loneliness, bitterness, and the meaninglessness of life push his thirsty soul towards his “native soul.” However, love for Vera cannot completely fill and subjugate Pechorin’s personality. She will not lead Pechorin to reconciliation with people and goodness: Pechorin does not look for revival in her. The novel of Pechorin and Vera is necessary in depicting the image of the “hero of our time” because here Lermontov allows us to see the depth and strength of Pechorin’s feelings under the guise of a cold egoist.
The image of Princess Mary is important in the novel. Her image is collective, summarizing the poet’s impressions received in different times from different persons. And if, painting Vera, Lermontov leaves in the shadows everything that concerns her psychological and cultural connections with her environment and society, then, painting Mary, on the contrary, Lermontov extremely clearly depicts her as a person of her time, social status and yours cultural environment... A young Moscow princess, whose mother, Princess Ligovskaya, is proud of the intelligence and knowledge of her daughter, “who read Byron in English and knows algebra,” attracts the attention of young people of that same “water society.” The pretty, young, sophisticated princess won the heart of cadet Grushnitsky, thereby attracting the interest of Pechorin, who speaks very cynically about her beauty: “She has velvet eyes - just velvet... the lower and upper eyelashes are so long that the rays of the sun are not reflected in her pupils. I love these eyes without shine: they are so soft, they seem to stroke... However, it seems that there is only good in her face..." Naive, kind and full of imagination, Mary helped Grushnitsky when he could not lift his glass, and, having learned he is better, she is inclined to perceive Grushnitsky in a romantic aura and idealizes him. However, it should be noted that if she knew that Grushnitsky was not demoted or exiled, that he had no dueling history, her interest in him and “his thick soldier’s overcoat” would have sharply decreased. The princess was most interested in Pechorin, although she feels that this is quite difficult and dark hero: “Mr., who has such an unpleasant, heavy look.” As for Pechorin, his meeting with Mary and the search for her love were more likely the main method of his struggle with Grushnitsky than a manifestation of the nascent, still unconscious feeling of love for her. Therefore, when Pechorin says to the princess: “I don’t love you,” he is telling the truth. Pechorin’s connection with Mary is not love, but one of those dangerous experiences in mastering a woman’s heart, of which he had so many in his life and which, in the end, became so boring to him. Mary was not prepared for life's trials and suffered deeply from Pechorin's games. “The princess, like a bird, fought in the nets placed by a skillful hand,” writes Belinsky. “She allowed herself to be deceived, but when she saw herself deceived, she, like a woman,
deeply felt her insult... The scene of her last meeting with Pechorin arouses strong sympathy for her and envelops her image with the brilliance of poetry.
Men's images
Among the male images, we will consider the following: Maxim Maksimych, Doctor Werner, Grushnitsky and Pechorin.
First male image who appears in the novel is Maxim Maksimych. A simple army officer, Captain Maxim Maksimych, an honest and good-natured man, became coarse and heavy, having served his entire life on the front line of the Caucasus. Belinsky highly valued his image, seeing in Maxim Maksimych the type of “an old Caucasian campaigner, seasoned in dangers, labors and battles, whose face is as tanned and stern as his manners are rustic and rude, but who has a wonderful soul, a heart of gold. This guy is purely Russian.” And, indeed, the ability to apply himself to the customs of the peoples among whom he happens to live is clearly visible in the statements of Maxim Maksimych, whose entire story allows Pechorin to draw the following general conclusion: “I was involuntarily struck by the ability of a Russian person to apply himself to the customs of those peoples among whom he happens to live.” to live..." In Maksim Maksimych, thus, finds its expression typical feature character and behavior of the Russian person, his national peculiarity. The same understanding of the psychology and customs of other peoples is also inherent in Pechorin. Maxim Maksimych’s appearance is also interesting: his pipe, his tanned face, his ironic smile, his sympathetic attitude towards the Kabardians, his cold courage, the very tone of his laconic conversations. In the novel we find him already an old servant, about fifty years old. We do not know his past, the story of his life is only guessed from individual hints. However, Maxim Maksimych has something to tell, and he, as his interlocutor managed to notice, is quite talkative, but speaks little and very modestly about himself, about his military life. The manner of Maxim Maksimych’s story is modest and restrained.
Doctor Werner is the only character in the story “Princess Mary” for whom a definite and indisputable prototype can be indicated. Many of Lermontov’s contemporaries claim that “Doctor Werner is based on Nikolai Vasilyevich Mayer,” who served on the staff of General A.A. Velyaminova. N.M. Satin, A.M. Miklashevsky, N.P. Ogarev, F.F. Tornau, A.E. Rosen, N.I. Lorer unanimously note the high portraiture skill with which Lermontov reproduced the features and character of N.V. in “A Hero of Our Time.” Mayer as Dr. Werner.
A skeptic and materialist, Dr. Werner was a man of very unusual appearance: “Werner was short, thin, and weak, like a child; one of his legs was shorter than the other, like Byron; in comparison with his body, his head seemed huge...” But what does Lermontov point out? special attention so it’s in the eyes, “His small black eyes, always restless, tried to penetrate your thoughts.” Werner had excellent taste in clothes, but from the color range he chose only black. He was nicknamed Mephistopheles, which actually flattered him. Despite everything, Werner still enjoyed great success with women, “there were examples that women fell madly in love with such people and would not exchange their ugliness for the beauty of the freshest and pinkest endymions.” Thus, Werner was different from others, not only in his appearance, but also in his character and beliefs... Therefore, Pechorin immediately singled him out from the others, and in the end they became friends. You can notice some similarities between Pechorin and Werner; they understood each other perfectly: “Doctor! We absolutely cannot talk: we read each other’s souls.” By correct definition Durylin, “cadet Grushnitsky is the second contrasting figure placed by Lermontov next to Pechorin: just as Maxim Maksimych contrasts with him in “Bel” and “Maksim Maksimych,” so Grushnitsky contrasts Pechorin in “Princess Mary.” Maxim Maksimych’s “contrast” is based on his opposition to Pechorin in age, character, social status, education - and this contrast is well understood by both Pechorin and Maxim Maksimych - but does not prevent them both from having feelings of respect and friendship for each other.
The contrast between Pechorin and Grushnitsky, at first glance, seems much less significant: Grushnitsky is only five years younger than Pechorin, he lives apparently, in the circle of the same mental and moral interests in which Pechorin lives, he feels like a person of the same generation and the same cultural environment to which Pechorin himself belongs. In fact, the contrast between Grushnitsky and Pechorin, not being as direct and definite as between him and Maxim Maksimych, is sharper: the apparent proximity of their cultural and social positions is an imaginary proximity: a real psychological, cultural, social gap is soon revealed between them , putting them, as obvious opponents, against each other with weapons in their hands.
This contrast between Pechorin and Grushnitsky, revealed by Lermontov with all the completeness of its psychological and historical truth, brought by him to such a generalizing indicativeness that it gives the right to see in the contrast between Pechorin and Grushnitsky the opposition of personality and guise, individuality and imitation, free thought and following stencils.”
Among the “Moscow dandies” and fashionable “brilliant adjutants” whom the hero of the novel meets in Pyatigorsk mixed society, Grushnitsky stands out especially. This is the direct antipode of Pechorin, even a parody of him. If Pechorin attracts attention to himself without caring at all about it, then Grushnitsky tries with all his might to “produce an effect.” If Pechorin is truly deeply disappointed in life, then Grushnitsky plays at disappointment. He belongs to people whose passion is to pose and recite, without understanding or feeling the truly beautiful things in life. Such people “importantly drape themselves in extraordinary feelings, sublime passions and exceptional suffering.” Belinsky wrote: “Grushnitsky is an ideal young man who flaunts his ideality, as noted dandies flaunt their fashionable dress, and “lions” – donkey stupidity... to produce an effect - his passion. He speaks in fancy phrases." All of Grushnitsky’s actions are driven by petty pride. Belinsky emphasized that pride is the main weakness in Grushnitsky’s character: “Pride assured him of unprecedented love for the princess and the princess’s love for him; pride made him see Pechorin as his rival and enemy; his pride decided to conspire against Pechorin’s honor; pride did not allow him to obey the voice of his conscience and be carried away by a good beginning in order to confess to the conspiracy; pride forced him to shoot at an unarmed man: the same pride concentrated all the strength of his soul at such a decisive moment and forced him to prefer certain death to certain salvation through confession. This man is the apotheosis of petty pride and weakness of character..."
Psychological portrait of Pechorin in the novel
The main character of the novel, a hero about whom there were so many different opinions, so much criticism, a hero who is ambiguous, who touches hearts and minds, is Pechorin. In his diary we find his sincere confession, in which he reveals his thoughts and feelings, mercilessly castigating his inherent vices and weaknesses. Here is given both a clue to his character and an explanation of his actions. Pechorin is a victim of his time. But does Lermontov justify his actions, his mood? On a sleepless night, on the eve of a duel with Grushnitsky, the hero of the novel seems to sum up the results of his life. “I run through my entire past in my memory and involuntarily ask myself: why did I live? For what purpose was I born?..And, it’s true, it existed, and, it’s true, I had a high purpose, because I feel immense powers in my soul...But I didn’t guess this purpose, I was carried away by the lures of empty and ungrateful passions; I came out of their crucible
hard and cold as iron, but has lost forever the ardor of noble aspirations - best color life.” Sad and difficult confessions! But we can’t help but see that Pechorin is head and shoulders above
people around him that he is smart, educated, talented, brave, energetic. We are repulsed by Pechorin's indifference to people, his inability to true love and friendship, his individualism and selfishness. But Pechorin captivates us with his thirst for life, the desire for the best, and the ability to critically evaluate his actions. He is deeply unsympathetic to us because of his “pathetic actions,” the waste of his strength, and the actions by which he brings suffering to other people. But we see that he himself suffers deeply.
Pechorin's character is complex and contradictory. The hero of the novel says about himself: “There are two people in me: one lives in the full sense of the word, the other thinks and judges him...” What is the reason for this duality? “My colorless youth passed in a struggle with myself and the light; Fearing ridicule, I buried my best feelings in the depths of my heart: they died there. I told the truth - they didn’t believe me: I began to deceive; Having learned well the light and springs of society, I became skilled in the science of life and saw how others were happy without art, freely enjoying the benefits that I so tirelessly sought. And then despair was born in my chest - not the despair that is treated with the barrel of a pistol, but cold, powerless despair, covered with courtesy and a good-natured smile. I became a moral cripple: one half of my soul did not exist, it dried up, evaporated, died, I cut it off and threw it away - while the other moved and lived at the service of everyone, and no one noticed this, because no one knew about its existence the dead half; but now you have awakened in me the memory of her, and I read her epitaph to you,” Pechorin admits. He learned to be secretive, became vindictive, bilious, envious, and ambitious. There is a lot of “bitterness and anger” in Lermontov’s novel, as in his poems and poems. The hero of the novel, Pechorin, is characterized by disappointment in life and pessimism, which is aimed at secular society. Think about the caustic and very apt characteristics that Pechorin gives to representatives of the aristocratic secular society, who came to Pyatigorsk for water. Look into their faces, watch their behavior, listen to their conversations, and you will see and understand that the “water society” is a gathering of arrogant and false gentlemen, rich and titled slackers, all of whose interests boil down to gossip, card game, intrigue, the pursuit of money, rewards and entertainment. Pechorin calls himself and his generation “pathetic descendants”, wandering the earth without conviction and pride, without pleasure and fear... no longer capable of making great sacrifices, either for the good of humanity, or even for our own happiness...”
No matter how different the images in the novel may be, each of them amazes the reader with the depth of thought, each has its own philosophy of life. And as was said earlier, the ability to think is the first confirmation of a person’s mental development. As an example, let's take the main character of the novel, Grigory Aleksandrovich Pechorin. His journal, in which he describes episodes of his life, is his confession; from it we learn a lot about his character, and therefore about his soul. “Evil begets evil; the first suffering gives the concept of pleasure in tormenting another; the idea of evil cannot enter a person’s head without him wanting to apply it to reality: ideas are organic creatures, someone said: their birth already gives them a form, and this form is an action; the one in whose head more ideas were born acts more than others...” - argues Pechorin. His thoughts are deeply philosophical, logical, interesting, not to mention the way Pechorin presents them. Every word, every sentence carries meaning, there is nothing superfluous, everything is interconnected. “...The fullness and depth of feelings and thoughts does not allow frantic impulses: the soul, suffering and enjoying, gives itself a strict account of everything and is convinced that it should be so; she gets into her own life, - cherishes and punishes himself like a beloved child...” writes Pechorin about the soul. Not only his notes, but also the actions he performs are thought out to the smallest detail. This can also be confirmed by the way he stole Bela: how he subtly felt and understood that he would influence Azamat, so that he would then agree to steal his sister; and how he sought the princess’s love by playing with her feelings. He reflects: “Women should wish that all men knew them as well as I do, because I love them a hundred times more since I am not afraid of them and have understood their petty weaknesses.”
Emotions and feelings of heroes
The novel also shows an amazing range of feelings, a whole storm of emotions and passions, diverse and unique. The love of a young princess, so pure and bright: “Either you despise me, or you love me very much! Maybe you want to laugh at me, outrage my soul and then leave me... That would be so mean, so low, that one assumption... Oh no! “Isn’t it true,” she added in a voice of tender confidence, “isn’t it true, there’s nothing in me that would exclude respect?” Vera’s love, so strong and forbidden: “A lot of time has passed since then: I penetrated into all the secrets of your soul... and became convinced that it was a vain hope. I was sad! But my love has grown together with my soul: it has darkened, but has not faded away...” Grushnitsky’s hatred and his pride: “I despise myself, but I hate you. If you don't kill me, I'll stab you at night from around the corner. There is no place for the two of us on earth...” Princess Mary’s compassion: “At that moment I met her eyes: tears were running in them; her hand, leaning on mine, trembled; cheeks were burning; she felt sorry for me! Compassion, a feeling that all women so easily submit to, has sunk its claws into her inexperienced heart.” Vera’s jealousy: “Today I saw Vera. She tormented me with her jealousy. The princess decided, it seems, to confide her heart’s secrets to her: I must admit, a good choice!” Dr. Werner’s friendly feelings, evidence of which can be at least the fact that he was worried about Pechorin before the duel, and Grigory Alexandrovich noticed this: “Why are you so sad, doctor? Haven’t you seen people off to the next world a hundred times with the greatest indifference?” The novel also talks about many feelings: despair, mistrust, suffering, contempt, pride, anger, resentment, joy, pleasure, tenderness. One thing follows another, as quickly and smoothly as in a raging stream.
Reflection of the inner world in the appearance of the heroes.
The reflection of a person’s inner world in his appearance is very important feature novel. Lermontov more than once emphasizes the appearance of a person in order to most clearly show the reader the characteristics of each soul. For example, the image of Vera. As already mentioned, this is an image of love itself, selfless and selfless. There is no certainty of secular flavor in her image. From her entire appearance, only one or two features remain, which do not so much show Vera as convey a psychological impression: “sweet voice,” “deep and calm eyes.” What Vera says, what she does, is directly related to her feeling, to love. Jealousy, passion, emotions - these are what distinguishes Vera. It is these feelings that are the main thing that Lermontov wanted to show in this heroine; they are the ones that reflect her portrait.
Another example is Dr. Werner. A stunning portrait gives a surprisingly clear idea of the peculiarities of his character. His actions, and especially his appearance, are surprising. Lermontov writes: “His appearance was one of those that at first glance strikes unpleasantly, but which you like later, when the eye learns to read in the irregular features the imprint of a proven and lofty soul.” And indeed the doctor’s appearance was extremely unusual: “Werner was short, thin and weak, like a child; one of his legs was shorter than the other, like Byron; in comparison with his body, his head seemed huge: he cut his hair into a comb, and the irregularities of his skull, exposed in this way, would strike a phrenologist with a strange interweaving of opposing inclinations.” What is even more striking is that even such a detail as the unevenness of the skull, a strange interweaving of opposing inclinations, so resonates with the description of Werner’s character: “He is a skeptic and a materialist, like almost all doctors, and at the same time a poet, and not joke, - the poet is always in deed and often in words, although he never wrote two poems in his life. He studied all the living strings of the human heart, as one studies the veins of a corpse, but he never knew how to use his knowledge... Usually Werner secretly mocked his patients, but I once saw him cry over a dying soldier... He was poor, dreamed of millions, but for money he wouldn’t take an extra step…” Lermontov writes: “His small black eyes, always restless, tried to penetrate your thoughts. In his clothes
both taste and neatness were noticeable; his thin hands were covered in light yellow gloves. His coat, tie and vest were always black. The youth nicknamed him Mephistopheles, he showed that he was angry for this nickname, but in fact it flattered his pride.” So, this amazing description is closely connected with the same amazing soul, and it was important in the novel, since it was Werner who became Pechorin’s friend, it was with him that Pechorin was able to find common language, because he found an amazing similarity of souls: “Look, there are two of us smart people; we know in advance that everything can be argued about endlessly, and therefore we do not argue; we know almost all of each other’s innermost thoughts; one word is a whole story for us; we see the grain of each of our feelings through a triple shell. Sad things are funny to us, funny things are sad, but in general, to be honest, we are quite indifferent to everything except ourselves.”
The influence of society on a person.
Often, in order to understand a person, it is necessary to find out his area of interests, friends and acquaintances. Each person is influenced by many various factors, but nothing changes a person more than the society in which he lives. This is how Princess Mary appears before us. It is her who Lermontov clearly depicts as a person of his time, social status, and cultural environment. An educated young princess, attracting the attention of young people of that very “water society” with her youth and beauty, a young, sophisticated coquette, breaking the hearts of her admirers and fluttering like a moth from ball to ball. Pechorin easily understood her and was able to win her heart. He had met such girls more than once, he himself grew up in this society, studied it and knew it to the smallest detail, so he was tired of it. Thus, Pechorin speaks about his life to Maxim Maksimych: “...I have an unhappy character: whether my upbringing made me like this, whether God created me like this, I don’t know; I only know that if I am the cause of the misfortune of others, then I myself am no less unhappy... In my early youth, from the minute I left the care of my relatives, I began to wildly enjoy all the pleasures that can be obtained for money, and, of course, These pleasures disgusted me. Then I set out into the big world, and soon I also got tired of society; I fell in love with secular beauties and was loved - but their love only irritated my imagination and pride, and my heart remained empty... I began to read, study - I was also tired of science; I saw that neither fame nor happiness depended on them at all... I was soon transferred to the Caucasus... I hoped that boredom did not live under Chechen bullets - in vain; after a month I became so accustomed to their buzzing and the proximity of death that I actually paid more attention to the mosquitoes, and I became more bored than before, because I had lost almost my last hope.” Pechorin was looking for answers to the questions of life, he was looking for meaning, he understood himself, he openly admitted his shortcomings and suffered greatly. Belinsky writes: “...There are two people in it: the first acts, the second looks at the actions of the first and talks about them, or better yet, condemns them, because they are really worthy of condemnation. The reasons for this split, this quarrel with oneself, are very deep, and they contain the contradiction between the depth of nature and the pitifulness of the actions of the same person ... "
Thus, the goal has been achieved. We have proven that M.Yu. Lermontov is a writer-psychologist.
Conclusion
"Hero of Our Time" - psychological novel. “The History of the Human Soul”, presented by Lermontov, gives the reader the opportunity to see and feel in himself what
at first glance it seems mysterious and incomprehensible. Pechorin's story is reflected, as in a mirror, in the human heart... And it is very important to remember that the human soul develops along with a person. If you do not strive for its development, if you forget about its existence, it will perish, and with it will die hero and man will die: “My colorless youth passed in a struggle with myself and the light; Fearing ridicule, I buried my best feelings in the depths of my heart: they died there. I told the truth - they didn’t believe me: I began to deceive; Having learned well the light and springs of society, I became skilled in the science of life and saw how others were happy without art, freely enjoying the benefits that I so tirelessly sought. And then despair was born in my chest - not the despair that is treated with the barrel of a pistol, but cold, powerless despair, covered with courtesy and a good-natured smile. I became a moral cripple: one half of my soul did not exist, it dried up, evaporated, died, I cut it off and threw it away - while the other moved and lived at the service of everyone, and no one noticed this, because no one knew about its existence the dead half; but now you have awakened in me the memory of her, and I read her epitaph to you.”
“Am I a fool or a villain, I don’t know; but it is true that I am also worthy of pity... my soul is spoiled by light, my imagination is restless, my heart is insatiable; I can’t get enough of it: I get used to sadness just as easily as to pleasure, and my life becomes emptier day by day; I have only one means left to travel. As soon as I can, I’ll go – but not to Europe, God forbid! “I’ll go to America, to Arabia, to India, and maybe I’ll die somewhere along the way!” - says Pechorin.
List of used literature
Belinsky V.G. Complete collection works in thirteen volumes. M., Ed. USSR Academy of Sciences, 1953-1959, XI
Dobrolyubov N.A. What is Oblomovism? . Collected works in 9 volumes. T. 4. M. – L., Goslitizdat, 1963, pp. 307 – 343
Lermontov M.Yu. Collected works in four volumes. M., Ed. Pravda, 1969, volume 4, pp. 196 - 336
Manuilov V.A. Novel by M.Yu. Lermontov “Hero of Our Time”. Comment. M. - L., Ed. Enlightenment, 1966
Fogelson I.A. Literature teaches. M., Ed. Enlightenment, 1990
Encyclopedia for children. Human. Volume 18. Part two. M., Ed. Avanta plus, 2002
V.G. Belinsky. Complete works in thirteen volumes. M., Ed. USSR Academy of Sciences, 1953-1959, XI, p.508.
V.G. Belinsky. Complete works in thirteen volumes. M., Ed. USSR Academy of Sciences, 1953-1959, XI, p. 316
"Hero of Our Time" is a very exciting work by Mikhail Yuryevich Lermontov. This novel contains a lot philosophical thoughts. In addition, it tells the story of the soul of the main character - Grigory Alexandrovich Pechorin.
It is important to note the unusual compositional structure of the novel. The chapters in it are not arranged in the correct chronological order, so the reader may initially be confused by Pechorin's behavior.
The very first chapter in chronological order should be the “Taman” chapter. It is with this part that Pechorin’s diary begins. Grigory ended up in this city on official business, but he doesn’t like the city at all: “Taman is the worst little town of all the coastal cities of Russia. I almost died of hunger there, and on top of that they wanted to drown me.” Besides all this , Pechorin finds himself in a rather strange and suspicious environment.
In the chapter "Taman" Lermontov began to reveal the character of Pechorin. He does not think at all about other people, he cares only about his own interests and needs. Pechorin distorted the fates of other people, which he himself discusses: “And why did fate throw me into the peaceful circle of honest smugglers? Like a stone thrown into a smooth spring, I disturbed their calm and, like a stone, I almost sank to the bottom!”
What follows is the most voluminous part of the novel - Princess Mary. It can be distinguished as an independent story. This chapter reveals Pechorin's difficult relationship with society, his ability to feel, and the fickleness of his soul. The reader sees a complete disclosure of the essence of Pechorin. The complexity and beauty of the chapter's plot can attract anyone.
The chapter "Bela" is very significant in this novel. It is easy to notice the contrast between Pechorin and Belaya herself. Bela is ready to sacrifice herself for the sake of love, but for Pechorin there is nothing more expensive than himself. This part of life is very instructive for the main character. He realized: "The love of a savage is nothing better than love noble lady." Pechorin hoped to find happiness with Bela. But, alas, Bela dies tragically. After this incident, Pechorin despaired of finding the love of his life.
The chapter “Fatalist” completes the novel; in addition, it is the last in Pechorin’s diary itself. The basis of this chapter is a bet between Lieutenant Vulich and Pechorin. Then Vulich invited Gregory to check whether a person can live regardless of the predictions of his fate, or whether everything is destined from above.
Grigory makes a bet and loses it - the gun misfired. Here Pechorin showed himself to be a cynic: “Everyone dispersed, accusing me of selfishness, as if I had made a bet with a man who wanted to shoot himself, and without me it was as if he could not find an opportunity!” Pechorin convinces himself of the existence of a predetermined fate. Another proof of this was the death of Vulich: “After all this, how can one not become a fatalist? How often do we mistake for a belief a deception of feelings or a lapse of reason...”
The chapter "Maksim Maksimych" is the latest in terms of time of action. She takes her rightful place in the novel. The chapter describes last meeting Maxim Maksimych with Pechorin. However, Pechorin was quite cold towards the old man. Maxim Maksimych concluded: “Oh, really, it’s a pity that he will end badly... and it can’t be otherwise! I’ve always said that there’s no use in those who forget old friends!” His words became prophetic - Pechorin dies in Persia.
The work of Mikhail Yuryevich Lermontov, and especially “Hero of Our Time,” had a great influence on Russian literature. His narrative of the development of the human soul is the property of the Russian literature of the 19th century century.
Progress: - get acquainted with the history of the creation of the novel, genre features; - get acquainted with the history of the creation of the novel, genre features; - find out the reasons for the discrepancy between the plot and the plot; - identify the place of Pechorin - the main character of the novel - in the system of other characters.
History of the creation of the novel The novel began in 1837 - 1838. Completed in 1839. Initially, the chapters of the future novel were published as independent ones. In 1840 they were combined into a novel. At first the novel had the title “One of the heroes of the beginning of the century” “Hero of our time” title
Genre of the novel “Bela” “Maksim Maksimych” “Taman” “Princess Mary” “Fatalist” romantic short story travel essay psychological short story adventure short story action story diary “secular” story notes romantic short story socio-psychological philosophical novel
Storytelling system THREE POINTS OF VIEW Traveling officer Maxim Maksimych Pechorin Old officer Gives an objective assessment He judges and executes himself HOW THE HERO IS PRESENTED Pechorin is mysterious and mysterious man. An attempt to give an explanation for certain actions. Tragic confession of a hero.
ATTITUDE OF THE HEROES TO THE PAST Pechorin Maxim Maksimych Everything that happened is painful Cannot and does not want to remember calmly, especially the story with Bela Pain in the soul - cannot forgive the story with Bela (her death) Everything that happened is sweet Shared memories are the basis for a conversation that is looking forward to Memories of the past add some significance to the story “Maksim Maksimych”
Pechorin’s attitude towards the characters in the story: At the beginning of the story At the end of the story The Blind Boy Ondine “An Unpleasant Impression” The boy’s fate evokes sympathy, despite the fact that he robbed Pechorin. “A strange creature...” Has a strong, decisive, almost masculine character, combined with such qualities as deceit and pretense.
Werner is Pechorin’s “double” according to Pechorin’s definition, a “remarkable man”, deep and sharp mind, insight, observation, knows people kind heart(“crying over a dying soldier”) hides his feelings and moods under the guise of irony and ridicule CAN PECHORIN AND WERNER BE FRIENDS? PECHORIN: “We soon understood each other and became friends, because I am not capable of friendship: of two friends, one is always the slave of the other, although often neither of them admits this to themselves; I cannot be a slave, and in this case commanding is tedious work, because at the same time I have to deceive..."
Grushnitsky - a caricature of Pechorin in Pyatigorsk Grushnitsky came to “become the hero of a novel” “... spent his whole life focusing on himself” says “in pompous phrases”, “producing an effect is his pleasure” “... I feel that we will someday encounter him on a narrow road, and one of us will be in trouble.” Through the eyes of Pechorin Through the eyes of the reader, he is capable of meanness and deception (a duel with Pechorin) all the time trying to imitate someone next to Pechorin, he looks pitiful and funny
Duel with Grushnitsky Excerpt from the teleplay “Pages of Pechorin’s Journal”, dir. A. Efros, 1975 Pechorin - Oleg Dal, Grushnitsky - Andrei Mironov Excerpt from the film “Princess Mary”, dir. I. Annensky, 1955 Pechorin - Anatoly Verbitsky, Grushnitsky - L. Gubanov M.A. Vrubel, 1890 – 1891 YES. Shmarinov, 1941
Scene of the chase for Vera “...I thought my chest would burst; all my firmness, all my composure disappeared like smoke. My soul became weak, my mind fell silent..." "When the night dew and mountain wind refreshed my hot head and my thoughts returned to normal order, I realized that chasing after lost happiness was useless and reckless..." Inconsistency, duality of the hero 33 Data received Lack of purpose in life - the main source of Pechorin’s tragedy, therefore his actions are petty, his ebullient activity is empty and fruitless. V. G. Belinsky very correctly noted that in Lermontov’s hero “there is a secret consciousness that he is what he seems to himself...”
Allery.com Company Logo Courage, thirst for the unknown, and will distinguish Pechorin from the people of his generation and allow the author to sympathetically follow his fate and call him a Hero of the Time...
