In the novel “Hero of Our Time,” Lermontov introduces the reader to the image of a man who has absorbed the most characteristic qualities generation of the 30s XIX century. The novel examines the problem of the “extra person” using the example of the main actor, Pechorina.
Pechorin is a very difficult and contradictory person. His life bears the imprint of tragedy. This is both a tragedy of a person rejected by society and a tragedy of a crippled soul. What is this tragedy and what are its origins and causes?
Pechorin is placed in conditions in which his extraordinary personality cannot fully open up and express himself, and therefore is forced to waste his energy on unnecessary petty intrigues that only bring misfortune to people. Pechorin is forced to play the role of an egoist, that is, to be a “reluctant egoist,” and he himself suffers because of this.
This is the tragedy of the hero.
Pechorin stands out from the crowd of people around him. He is smart, straightforward and insightful. Lies and pretense, hypocrisy and cowardice are alien to him. He is not satisfied with an empty and monotonous existence in pursuit of petty, insignificant interests. Pechorin does not want to go with the flow with everyone else. With his intelligence and strength of character, he is capable of the most decisive and courageous actions. If he directed his activities towards good, high goals, then I could achieve a lot. But fate and life decreed differently. As a result, Pechorin appears before us as an egoist who lives in the world to dispel his boredom at the expense of the misfortunes of others. He lives not with his heart, but with his mind. His soul is half dead. “I have become a moral cripple,” Pechorin admits to Princess Mary. Pechorin is full of contempt and hatred for people. He loves to study the psychology of people in different situations, not empathizing or sympathizing, but completely indifferent. Pechorin brings nothing but misfortune to those around him. Through his fault, the smugglers suffer, Bela dies, the lives of Vera and Princess Mary are destroyed, and Grushnitsky dies. “I played the role of an ax in the hands of fate,” Pechorin writes in his diary. What prompted the hero to cruel, selfish actions? Most likely the desire to relieve boredom. Pechorin did not think that behind each of his unbridled actions there was a living person with a soul and heart, with his own feelings and desires. Pechorin did everything for himself and nothing for others. “I look at the suffering and joy of others only in relation to myself,” Pechorin admits. This is how he explains his actions in relation to Princess Mary: “... There is immense pleasure in possessing a young, barely blossoming soul... I feel this insatiable greed in myself.” No wonder Princess Mary considers Pechorin worse than a murderer.
What made the hero this way? Possessing extraordinary qualities, Pechorin stood out from the crowd of peers, friends and other people from childhood. He put himself above others, and society put him below. Society does not tolerate those who are not like everyone else; it cannot come to terms with the existence of an extraordinary person who stands out in some way. And yet people failed to bring Pechorin to their average level, but they managed to cripple his soul. Pechorin became secretive, envious, and vindictive. “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.”
Using the example of Pechorin, Lermontov shows the inevitable conflict between a thinking person and society, the confrontation between a strong personality and a gray, faceless crowd, the problem of the “superfluous person.”
But can the hero be definitely called a cruel egoist?
“... If I am the cause of the misfortune of others, then I myself am no less unhappy!.. I... am very worthy of regret,” says Pechorin. Indeed, by torturing others, Pechorin himself suffers no less. If he is an egoist, then he is a suffering egoist. Genuine human feelings did not completely die in him. An example is the attitude towards Faith. Indeed, his feelings for this woman are genuine. Pechorin at his core is a deeply unhappy person. He is lonely and incomprehensible.
People avoid him, feeling some kind of evil force in him. Pechorin lives without a goal, without aspirations, wasting himself on empty intrigues and unnecessary passions. But despite this, his heart is still capable of love, his soul is still capable of feeling, and his eyes are still capable of crying. At the end of the chapter “Princess Mary” we see Pechorin crying like a child. We see an unhappy, lonely person who has never found his place in life, who repents of his actions, a person who evokes pity and compassion.
Pechorin's image - tragic image thinking strong man. Pechorin is a child of his time, in him Lermontov concentrated the main typical vices of his generation, namely: boredom, individualism, contempt. Lermontov portrayed a man in a struggle with society and with himself and the tragedy of this man.
Pechorin's tragedy
The novel "A Hero of Our Time" was written in 1837-1840 during the era of government reaction, when all free thought, all living feeling. This was a transitional era after the collapse of the ideas of Decembrism, when the ideals of the past were destroyed, and new ideals had not yet had time to form. The post-Decembrist decade was a difficult period in Russian life. People were overcome by deep despair and general despondency.
This dark decade has given birth to new type people - disappointed skeptics, “suffering egoists”, devastated by the aimlessness of life. Through the prism of such ideas, inspired by Lermontov’s era, the tragedy of Pechorin, “the hero of our time,” is depicted.
The central problem of the novel is the problem of the personality of the protagonist. The fate of one person worried the author because it was a reflection of the fate of many. Drawing the main character of the novel, he created a portrait composed “of the vices of the entire ... generation, in their full development.”
Lermontov posed the question of why exactly such heroes appeared in those years, why their lives were joyless, and who was to blame for the tragic fate of an entire generation. This main topic The author reveals the novel by deeply and comprehensively exploring the life, actions, and character of the main character of the novel.
The relevance of the topic I have chosen lies in the fact that by understanding the tragedy of Pechorin, we will be able to understand the sad fate of an entire generation. We will also be able to more deeply and fully perceive and feel the lyrics and other works of Mikhail Yuryevich Lermontov dedicated to this topic. At the same time, Lermontov’s hero can teach us a lot; by reading about Pechorin, we learn to appreciate the fullness of life.
The purpose of my work is to answer the question: why is it that a thinking person, who feels “immense powers in his soul,” could not find his way and place in this world and is forced to spend an empty, aimless life, burdened by it.
To achieve the goal, the essay sets the following task: to deeply and comprehensively explore the life, character, and actions of the main character of the novel.
Features of the composition and plot of the novel
The novel consists of five parts, five stories, each with its own genre, its own plot and its own title. But the main character combines all these stories into a single novel.
Moving from chapter to chapter, we gradually get to know the hero; the author makes us think about his mysteries and the reasons for the “great oddities” of his character. We find the key to them by putting together the whole puzzle of Pechorin’s life story.
For the same purpose - to reveal as deeply as possible inner world character, the main character is shown to us from the point of view of three people.
In each story, Lermontov places Pechorin in a different environment, shows him in different circumstances, in clashes with people of different social status and mental makeup.
Each time Pechorin reveals himself to the reader from a new side, discovering new and new facets of his character.
Pechorin's tragedy
Who is Grigory Aleksandrovich Pechorin? He is a strong-willed nature, thirsty for activity. The natural talent of the main character, expressed in his deep intelligence, strong passions and steely will, is strikingly striking to the readers of the novel. But for all his talent and wealth of spiritual powers, he, according to his own fair definition, is a “moral cripple.” His character and all his behavior are extremely contradictory.
It is revealed in the novel in its entirety, revealing, according to Lermontov’s definition, the “disease” of the generation of that time. “My whole life,” Pechorin himself points out, “was only a chain of sad and unsuccessful contradictions to my heart or mind.” How do they manifest themselves?
Firstly, in his attitude to life. On the one hand, Pechorin is a skeptic, a disappointed person who lives “out of curiosity”; on the other hand, he has a huge thirst for life and activity.
Secondly, rationality struggles with the demands of feelings, mind and heart.
The contradictions in Pechorin’s nature are also reflected in his attitude towards women. He himself explains his attention to women and the desire to achieve their love by the need of his ambition. But Pechorin didn’t
such a heartless egoist. His heart is capable of feeling deeply and strongly, and his attitude towards Faith tells us this.
He deceives himself, because in fact he is young, he can do everything: love and be loved, but he himself gives up hope, joys, convincing himself that they are impossible for him. These inconsistencies do not allow Pechorin to live a full life.
The origins of Pechorin's individualism
Pechorin's individualism was formed in a transitional era - in an era of the absence of social ideals: and life devoid of high goals is meaningless. The main character realizes this. Not striving for wealth, honors, or a career, he openly despises the world and, having come into conflict with his environment, becomes “superfluous,” because he is a person in the conditions of the impersonal Nikolaev reality.
Pechorin feels superior to his environment. A disgust is brewing in his soul for these people among whom he is forced to live. But at the same time, he is formed by this very environment. Two elements exist in it at the same time - the natural, natural and the social, distorting it, and the natural principle in Pechorin everywhere encounters a social limit.
“Pechorin's Journal” reveals the tragedy of a gifted person who strived for active action, but was doomed to forced inaction. In his confession, he explains it all this way: “Everyone read on my face signs of bad qualities that were not there; but they were anticipated - and they were born. I was modest - I was accused of guile: I became secretive..."
This confession sounds not only reproach, condemnation of secular society, which insults a person in his best feelings and motives, likens him to himself, makes him envious, hypocritical, but also self-condemnation and pain for the ruined better half of the soul.
Life positions and moral principles
Having lost faith in life, Pechorin tries to develop a position in life, formalize the principles of relationships with people, substantiate his system of views, taking into account the peculiarity that lies in his “immense forces” that require action.
But what to do if life does not provide the opportunity to realize this energy and strength? In this situation, Pechorin's normal state is boredom. Even under Chechen bullets, Pechorin never ceases to be bored: in the world, in the Caucasus, the protagonist is tormented and tormented by the emptiness of life, but none of his attachments saves Pechorin from boredom and loneliness.
Why? The main value for Pechorin is personal freedom. However, human freedom from society, an absolutely impossible thing in itself, turns out to be different. The personality is fenced off not only from the official world that it hates, but also from reality in general.
Happiness, according to Pechorin, is “saturated pride”: “If I considered myself better, more powerful than everyone else in the world, I would be happy, if everyone loved me, I would find endless sources of love in myself.”
It is impossible to agree with this statement by Pechorin. Why should a person be “the cause of suffering and joy” of someone who is dear to him? We would not be able to comprehend this at all if we did not understand that he was destitute. Fate has given him so little activity and expenditure of mental energy that even a small game with Princess Mary pleases his vanity and creates the illusion of a meaningful life.
Pechorin wants to first receive from people, and then give to them. Even in love.
Pechorin is also incapable of making friends. Doctor Werner and Maxim Maksimych are sincerely attached to him, but Pechorin, no matter how much he would like, cannot call these people his friends. He is convinced that “of two friends, one is always the slave of the other.” Pechorin evokes pity for himself, because having such ideas about friendship, he will never be able to feel the joy of mutual assistance and understanding.
Pechorin, with his own life, refutes his own thesis that “happiness is intense pride.” Selfishness, individualism, indifference are not innate qualities, but a kind of moral code, a system of beliefs from which Pechorin never deviated in his life.
Character traits
Characteristics are aggravated by the pain of disappointment, constant, hopeless loneliness. The awareness of a life lived in vain gives rise to indifference to it, as a result of which an internal crisis, pessimism, and even death do not frighten the main character.
This indifference to death pushes the main character to try his luck, enter into confrontation with it, and this time come out victorious. The story “Fatalist” brings together Pechorin’s spiritual quest; it synthesizes his thoughts on personal will and the meaning of circumstances independent of man. It also reveals the titanic capabilities of the protagonist for feats. The hero experiences trust in fate for the first and last time, and fate not only spares him, but also elevates him.
Action and struggle, resistance to unfavorable circumstances, and not blind submission to fate - this is life credo hero. And Pechorin’s physical death turns into his spiritual immortality: he is directed forward in search of the true meaning of life.
Who's to blame?
The tragedy, according to Belinsky’s definition, “between the depth of nature and the pitifulness of actions,” the freedom-loving ideas adopted by people of the Pechorin type in their early youth from the Decembrists, made them irreconcilable with the surrounding reality. The Nikolaev reaction deprived these people of the opportunity to act in the spirit of these ideas and even called them into question. And the ugliness of their upbringing and life in a secular society did not allow them to rise to moral standards.
Lermontov clearly points out the reason that made Pechorin and other thinking people of that time unhappy. He saw it in “insignificant disputes over a piece of land or for some fictitious rights,” in quarrels that divided people into masters and slaves, into oppressors and the oppressed.
Lermontov shifts part of the blame onto society, but at the same time does not relieve responsibility from the main character. He pointed to the disease of the century, the treatment of which is to overcome individualization generated by timelessness, bringing deep suffering to Pechorin himself and destructive to those around him.
Roman Lermontov Pechorin
Conclusion
The story of Grigory Aleksandrovich Pechorin is the story of the futile attempts of an extraordinary person to realize himself, to find at least some satisfaction to his needs, attempts that invariably turn into suffering and losses for him and those around him, the story of his loss of powerful vitality and an absurd death from having nothing to do, from his uselessness to anyone and to himself.
With his own life, he refuted his own thesis that “happiness is intense pride.”
Well, truth is an expensive thing. Sometimes they pay for it with their lives. But on the other hand, every life that was a real search for this truth forever enters into the spiritual experience of humanity.
That is why Pechorin is always needed and dear to us. Reading Lermontov's novel, we begin to realize things that are very important for us today. We come to understand that individualism contradicts the living nature of man, its actual needs; that cruelty, indifference, the inability to act and work - all this is a heavy burden for a person. It turns out that it is human nature to strive for goodness, truth, beauty, and action. Pechorin did not have the opportunity to fulfill his aspirations, so he is unhappy. Nowadays, people control their own destinies; it is up to us to make our lives full or empty. Reading Lermontov's novel, we learn to appreciate the fullness of life.
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THE TRAGICITY OF PECHORIN'S IMAGE. The main theme of the novel “A Hero of Our Time” is the depiction of the socially typical personality of the noble circle after the defeat of the Decembrists. The main idea is the condemnation of this person and the person who gave birth to him. social environment. Pechorin is the central figure of the novel, his driving force. He is Onegin's successor - "an extra man." He is a romantic in character and behavior, by nature a person of exceptional abilities, outstanding intelligence and strong will.
Lermontov paints a portrait of Pechorin with psychological depth. Phosphorically dazzling, but cold shine of the eyes, a penetrating and heavy gaze, a noble forehead with traces of intersecting wrinkles, pale, thin fingers, nervous relaxation of the body - all these external features of the portrait testify to the psychological complexity, intellectual talent and strong-willed, evil power of Pechorin. In his “indifferently calm” look “there was no reflection of the heat of the soul,” Pechorin was indifferent “to himself and others,” disappointed and internally devastated.
He was characterized by the highest aspirations for social activities and a passionate desire for freedom: “I am ready for all sacrifices... but I will not sell my freedom.” Pechorin rises above the people of his environment with his versatile education, wide awareness of literature, science, and philosophy. He sees the inability of his generation “to make great sacrifices for the good of humanity” as a sad shortcoming. Pechorin hates and despises the aristocracy, therefore he becomes close to Werner and Maxim Maksimych, and does not hide his sympathy for the oppressed.
But Pechorin’s good aspirations did not develop. The unrestrained socio-political reaction that stifled all living things, the spiritual emptiness of high society changed and drowned out its capabilities, disfigured its moral image, and reduced vital activity. Therefore, V. G. Belinsky called the novel a “cry of suffering” and a “sad thought” about that time. Chernyshevsky said that “Lermontov - a deep thinker for his time, a serious thinker - understands and presents his Pechorin as an example of what the best, strongest, noblest people become under the influence of the social situation of their circle.”
Pechorin fully felt and understood that under conditions of autocratic despotism, meaningful activity in the name of the common good was impossible for him and his generation. This was the reason for his boundless skepticism and pessimism, the conviction that life was “boring and disgusting.” Doubts devastated Pechorin to such an extent that he had only two convictions left: the birth of a person is a misfortune, and death is inevitable. He diverged from the environment to which he belonged by birth and upbringing. Pechorin denounces this environment and cruelly judges himself; this, according to V. G. Belinsky, is the “strength of spirit and power of will” of the hero. He is dissatisfied with his aimless life, passionately searches and cannot find his ideal: “Why did I live? for what purpose was I born?..” Internally, Pechorin moved away from the class to which he rightfully belonged by birth and social status, but he did not find a new system of social relationships that would suit him. Therefore, Pechorin does not pass any laws other than his own.
Pechorin is morally crippled by life, he has lost his good goals and turned into a cold, cruel and despotic egoist who is frozen in splendid isolation and hates himself.
According to Belinsky, “hungry for worries and storms”, tirelessly chasing life, Pechorin manifests himself as an evil, egocentric force that brings people only suffering and misfortune. Human happiness for Pechorin is “saturated pride.” He perceives the suffering and joy of other people “only in relation to himself” as food that supports his spiritual strength. Without much thought, for the sake of a capricious whim, Pechorin tore Bela from her home and destroyed her, greatly offended Maxim Maksimych, ruined the nest of “honest smugglers” due to empty red tape, disturbed Vera’s family peace, and grossly insulted Mary’s love and dignity.
Pechorin does not know where to go and what to do, and wastes the strength and heat of his soul on petty passions and insignificant matters. Pechorin found himself in a tragic situation, with a tragic fate: he was not satisfied with either the surrounding reality or the individualism and skepticism characteristic of him. The hero has lost faith in everything, he is corroded by dark doubts, he longs for meaningful, socially purposeful activity, but does not find it in the circumstances around him. Pechorin, like Onegin, is a suffering egoist, an involuntary egoist. He became this way because of the circumstances that determine his character and actions, and therefore evokes sympathy for himself.
The main character of the novel “”, Grigory Alexandrovich, was endowed with an unusually tragic fate. His actions, his actions very often lead to undesirable events not only in his life, but also in the destinies of other people. Using examples from the novel's stories, we can see how cold and selfish Pechorin is.
Or maybe he's just deeply unhappy? Maybe his inner world is in constant turmoil from what is happening around him? There is no definite answer! But, with all this, people who were close to Gregory very often experienced suffering and pain.
Friendly relations with Maxim Maksimych at the last meeting turn the good-natured staff captain into an embittered and offended old man. And all this happens because of the dryness and rudeness of the main character. Maxim Maksimych waits with an open soul to meet Pechorin, but receives only a cold greeting in return. What happens? Evil begets and causes reciprocal evil! And all because of Gregory’s behavior.
The hero's love relationships with women can be called unsuccessful and unhappy. All his beloved ladies, after parting, experienced severe mental anguish. Love seemed to Pechorin the same as the feelings of noble ladies. Only Gregory was trying to find something completely different in a woman! The relationship with the princess was just a game that Pechorin started in order to teach Grushnitsky a lesson. Feelings for Vera were the most real of all love relationship, but the hero realized this only when he lost his beloved forever.
Friendly ties with end with his death in a duel with Pechorin. The main character gives several opportunities to his friend in order to apologize and correct the current situation. But the proud and proud officer does not compromise, so he ultimately dies at the hands of Grigory Alexandrovich.
And the episode with Lieutenant Vulich makes us think that Pechorin also has secret powers of prediction. After a fight with fate, the lieutenant remains alive, but Pechorin anticipates his imminent death. That's what happens!
This means that the main character of the novel really had a tragic fate. From the message before “Pechorin’s Notes” we learn that Gregory dies on the way from Persia. He was never able to find his happiness, he was never able to find true love, to understand what joy and sincerity are. In addition, he crippled the fates of many people who were close to him.
To the question: Please help me find an essay on the topic: what is the tragedy of Pechorin’s fate? given by the author Vyacheslav Sautin the best answer is Why did I live? For what purpose was I born? The tragedy of the fate of Grigory Pechorin
The entire life of the main character of M. Yu. Lermontov’s novel “A Hero of Our Time” can truly be called a tragedy. Why and who is to blame for this are the topics to which this essay is devoted.
So, Grigory Pechorin was expelled from St. Petersburg for a certain “story” (obviously a duel over a woman) to the Caucasus, several more stories happen to him along the way, he is demoted, goes to the Caucasus again, then travels for some time, and, returning from Persia home, dies. This is fate. But during all this time, he experienced a lot himself and influenced the lives of other people in many ways.
I must say, this influence was not the best - during his life he destroyed many human destinies - Princess Mary Ligovskaya, Vera, Bela, Grushnitsky... Why, is he really such a villain? Does he do this on purpose or does he do it arbitrarily?
Generally speaking, Pechorin is an extraordinary person, intelligent, educated, strong-willed, brave... In addition, he is distinguished by a constant desire for action; Pechorin cannot stay in one place, in one environment, surrounded by the same people. Is this why he cannot be happy with any woman, even with the one he is in love with? After a while, boredom overcomes him and he begins to look for something new. Is this why he ruins their destinies? Pechorin writes in his diary: “... the one in whose head more ideas were born acts more; as a result, a genius chained to an bureaucratic desk must die or go crazy...” Pechorin is not tempted by such a fate, and he acts. Acts without regard for the feelings of other people, practically without paying attention to them. Yes, he is selfish. And this is his tragedy. But is Pechorin alone to blame for this?
No! And Pechorin himself, explaining to Mary, says: “... This has been my fate since childhood. Everyone read on my face signs of bad qualities that did not exist; but they were assumed - and they were born...”.
So, "everyone". Who does he mean? Naturally, society. Yes, the same society that interfered with Onegin and Lensky, which hated Chatsky, is now Pechorin. So, Pechorin learned to hate, to lie, became secretive, he “buried his best feelings in the depths of his heart, and there they died.”
So, on the one hand, an extraordinary, intelligent person, on the other hand, an egoist who breaks hearts and destroys lives, he is an “evil genius” and at the same time a victim of society.
In Pechorin's diary we read: "... my first pleasure is to subordinate everything that surrounds me to my will; to arouse for myself a feeling of love, devotion and fear - isn't this the first sign and the greatest triumph of power." So that’s what love is for him - just the satisfaction of his own ambition! But what about his love for Vera - is it the same? Partly, yes, there was a barrier between Pechorin and Vera. Vera was married, and this attracted Pechorin, who, like a true fighter, strove to overcome all obstacles; it is unknown how Pechorin would have behaved if this barrier had not existed... But this love, love for Vera, however, is more than just a game, Vera was the only woman whom Pechorin truly loved, at the same time, only Vera knew and loved not the fictional Pechorin, but the real Pechorin, with all his advantages and disadvantages, with all his vices. “I should hate you... You gave me nothing but suffering,” she says to Pechorin. But she cannot hate him... However, selfishness takes its toll - all the people around Pechorin turn away from him. In a conversation, he somehow confesses to his friend Werner: “When thinking about imminent and possible death, I think about only myself.” Here it is, his tragedy, the tragedy of his fate, his life.
It must be said that in his diaries Pechorin admits this, analyzing his life, he writes: “... I did not sacrifice anything for those I loved: I loved for myself, for my own pleasure...”. And as a result of his loneliness: "... and there will not be a single creature left on earth who would understand me completely
“A Hero of Our Time,” written by Mikhail Yuryevich Lermontov, shows us one of the newest images in literature, previously discovered by Alexander Sergeevich Pushkin in “Eugene Onegin.” This is the image of a “superfluous person”, shown through the main character, officer Grigory Pechorin. The reader already in the first part of “Bel” sees the tragedy of this character.
Grigory Pechorin is a typical “extra person.” He is young, attractive in appearance, talented and smart, but life itself seems boring to him. The new activity soon begins to bore him, and the hero embarks on a new search for vivid impressions. An example of this could be the same trip to the Caucasus, where Pechorin meets Maxim Maksimych, and then Azamat and his sister Bela, a beautiful Circassian woman.
Hunting in the mountains and communicating with the inhabitants of the Caucasus is not enough for Grigory Pechorin, and he, in love with Bela, kidnaps her with the help of the heroine’s brother, the wayward and proud Azamat. A young and mentally fragile girl falls in love with a Russian officer. It would seem that mutual love – what else does a hero need? But soon he gets bored with this too. Pechorin suffers, Bela suffers, offended by her lover’s inattention and coldness, and Maxim Maksimych, who observes all this, also suffers. The disappearance of Bela brought a lot of trouble to the girl’s family, as well as to Kazbich, who wanted to marry her.
These events end tragically. Bela dies almost in the hands of Pechorin, and all he can do is leave those places. People who have nothing to do with the hero suffered from his eternal boredom and search. And the “extra person” moves on.
This example alone is enough to understand how Pechorin, due to his boredom, is capable of interfering in other people's destinies. He cannot cling to one thing and hold on to it all his life; he needs a change of places, a change of society, a change of activities. And still he will get bored with reality, and still he will move on. If people are looking for something and, having found a goal, calm down on it, then Pechorin cannot decide and find his “finish line”. If he stops, he will still suffer - from monotony and boredom. Even in the case of Bela, where he had mutual love with a young Circassian woman, a faithful friend in the person of Maxim Maksimych (after all, the old man was ready to help Pechorin) and service, Pechorin still returned to his state of boredom and apathy.
But the hero cannot find his place in society and life, not only because he quickly becomes bored with any activity. He is indifferent to all people, which can be observed in the part “Maksim Maksimych”. People who had not seen each other for five years could not even talk, because Pechorin, with absolute indifference to his interlocutor, is trying to quickly end the meeting with Maxim Maksimych, who, by the way, managed to miss Grigory.
It is safe to say that Pechorin, as a true hero of our time, can be found in every modern person. Indifference to people and endless search for oneself will remain eternal features of society of any era and country.
Option 2
G. Pechorin is the central character of the work “Hero of Our Time”. Lermontov was accused of portraying a moral monster, an egoist. However, the figure of Pechorin is extremely ambiguous and requires in-depth analysis.
It was no coincidence that Lermontov called Pechorin a hero of our time. His problem is that from childhood he found himself in the corrupting world of high society. In a sincere impulse, he tells Princess Mary how he tried to act and act in accordance with the truth and conscience. They did not understand him and laughed at him. Gradually this produced a serious change in Pechorin’s soul. He begins to act contrary moral ideals and achieves favor and favor in noble society. At the same time, he acts strictly in accordance with his own interests and benefits and becomes an egoist.
Pechorin is constantly oppressed by melancholy, he is bored in his surroundings. Moving to the Caucasus only temporarily revives the hero. He soon gets used to the danger and begins to get bored again.
Pechorin needs a constant change of impressions. Three women appear in his life (Bela, Princess Mary, Vera). They all fall victim to the hero's restless nature. He himself does not feel much pity for them. He is confident that he always did the right thing. If love passed or did not even arise, then he is not to blame for this. His character is to blame.
Pechorin, for all his shortcomings, is an exceptionally truthful image. His tragedy lies in the limitations of the noble society of Lermontov's era. If the majority tries to hide their shortcomings and unseemly actions, then Pechorin’s honesty does not allow him to do this.
The individualism of the protagonist could, in other conditions, help him become outstanding personality. But he finds no use for his powers and, as a result, appears to others as a soulless and strange person.
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For the first time we learn about Alena Dmitrievna from the story of the guardsman Kiribeevich at a feast at Ivan the Terrible. The king, noticing the sad favorite, began to find out why he was upset.
“Hero of Our Time,” written by M. Yu. Lermontov in 1840, became the first psychological novel V Russian literature. The author set himself the goal of showing in detail and in many ways the character of the main character, who had fallen out of the cycle of a dying era.
It seems to me that the tragedy of the fate of Grigory Aleksandrovich Pechorin lies in his complex character. Lermontov presented to the reader psychological portrait a contemporary with a dual nature.
Coldness, indifference, selfishness, wastefulness
and a penchant for introspection were inherent in many representatives of the “superfluous people”, doomed to inaction. The smart, educated hero is bored and sad from the meaninglessly changing days, from a series of predictable events.
Pechorin does not trust either friendship or love, and therefore suffers from loneliness. He himself is not capable of deep feelings and brings suffering to those around him. Grigory feels that two people coexist within him and this explains the duality of behavior. This idea is confirmed by Maxim Maksimovich with a story about Pechorin, who could boldly go hunt a wild boar alone in bad weather, and
sometimes he looked like a coward - he shuddered and turned pale from the knocking of the window shutters.
The hero's behavior is contradictory, he quickly cools down to any endeavors, and cannot find his purpose. Just remember his desire to win Bela’s favor and his quick cooling towards the mountain beauty who fell in love with him. Pechorin's personality emerges from the relationships he enters into with others. His actions are worthy of condemnation, but one can understand the hero, because he belongs to the people of his time who had become disillusioned with life.
Not finding the meaning of existence, Pechorin decides to leave on a long journey that will one day end in death. He himself is unpleasant that he becomes the cause of other people’s troubles: because of him, Bela and Grushnitsky die, Vera and Princess Mary suffer, Maxim Maksimovich is undeservedly offended. The tragedy of the hero is that he rushes about in search of his place in life, but at the same time he always acts as he sees fit.
Thus, the tragedy of the fate of Lermontov’s hero lies in himself: in his character, in the analysis of any situation. The burden of knowledge made him a cynic, he lost his naturalness and simplicity. As a result, Pechorin has no goals, no obligations, no attachments... But if the person himself loses interest in life, seeing only boredom in it, then even the healing power of nature is unlikely to be able to heal the soul.
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I look sadly at our generation!
His future is either empty or dark,
Meanwhile, under the burden of knowledge and doubt,
It will grow old in inaction.
M. Yu. Lermontov
M. Yu. Lermontov's novel "A Hero of Our Time" was created in the era of government reaction, which brought to life a whole gallery of "superfluous" people. Pechorin is “Onegin of his time” (Belinsky). Lermontov's hero is a man of tragic fate. He contains “immense powers” in his soul, but there is a lot of evil on his conscience. Pechorin, by his own admission, invariably plays “the role of an ax in the hands of fate,” “a necessary character in every fifth act.” How does Lermontov feel about his hero? The writer is trying to understand the essence and origins of the tragedy of Pechorin’s fate. “It will also be that the disease is indicated, but God knows how to cure it!”
Pechorin greedily seeks applications for his extraordinary abilities, “immense spiritual powers,” but is doomed by historical reality and the peculiarities of his mental makeup to tragic loneliness. At the same time, he admits: “I like to doubt everything: this disposition does not interfere with the decisiveness of my character; on the contrary... I always boldly move forward when I don’t know what awaits me. After all, worse than death nothing will happen, but you won’t escape death!”
Pechorin is lonely. The hero's attempt to find natural, simple happiness in the love of the mountain woman Bela ends in failure. Pechorin openly admits to Maxim Maksimych: “... the love of a savage is little better than the love of a noble lady; the ignorance and simple-heartedness of one are just as annoying as the coquetry of the other.” The hero is doomed to be misunderstood by those around him (the only exceptions are Werner and Vera); neither the beautiful “savage” Bela nor the kind-hearted Maxim Maksimych can comprehend his inner world. However, let us remember that at the first meeting with Grigory Aleksandrovich, the staff captain was able to notice only minor features of Pechorin’s appearance and the fact that the “thin” ensign had recently been in the Caucasus. Maxim Maksimych does not understand the depth of Pechorin’s suffering, having found himself an involuntary witness to Bela’s death: “... his face did not express anything special, and I felt annoyed: if I were in his place, I would have died of grief...” And only from a casual remark, that “Pechorin was unwell for a long time and lost weight,” we guess about the true strength of his experience
y Grigory Alexandrovich.
Pechorin's last meeting with Maxim Maksimych clearly confirms the idea that "evil begets evil." Pechorin's indifference to his old "friend" leads to the fact that "good Maxim Maksimych became a stubborn, grumpy staff captain." The officer-narrator guesses that Grigory Alexandrovich’s behavior is not a manifestation of spiritual emptiness and selfishness. Particular attention is drawn to Pechorin's eyes, which "did not laugh when he laughed... This is a sign of either an evil disposition or deep, constant sadness." What is the reason for such sadness? We find the answer to this question in Pechorin's Journal.
Pechorin's notes are preceded by a message that he died on the way from Persia. Pechorin never finds a worthy use for his extraordinary abilities. The stories "Taman", "Princess Mary", "Fatalist" confirm this. Of course, the hero is head and shoulders above empty adjutants and pompous dandies who “drink, but not water, walk little, dawdle only in passing... play and complain of boredom.” Grigory Aleksandrovich perfectly sees the insignificance of Grushnitsky, who dreams of “becoming the hero of a novel.” In Pechorin's actions one can sense deep intelligence and sober logical calculation. The entire plan of Mary's seduction is based on knowledge of the "living strings of the human heart." By evoking compassion for himself with a skillful story about his past, Pechorin forces Princess Mary to be the first to confess his love. Maybe we are looking at an empty rake, a seducer of women's hearts? No! The hero’s last meeting with Princess Mary convinces of this. Pechorin's behavior is noble. He is trying to ease the suffering of the girl who loves him.
Pechorin, contrary to his own statements, is capable of sincere, great feelings, but the hero’s love is complex. Thus, the feeling for Vera awakens with renewed vigor when there is a danger of forever losing the only woman who understood Grigory Alexandrovich completely. “With the possibility of losing her forever, Faith became dearer to me than anything in the world - more valuable than life, honor, happiness!" - admits Pechorin. Having driven the horse on the way to Pyatigorsk, the hero "fell on the grass and, like a child, cried." This is the power of feelings! Pechorin's love is high, but tragic for himself and disastrous for those who loves him. Proof of this is the fate of Bela, Princess Mary and Vera.
The story with Grushnitsky is an illustration of the fact that Pechorin’s extraordinary abilities are wasted, on small, insignificant goals. However, in his attitude towards Grushnitsky, Pechorin is noble and honest in his own way. During a duel, he makes every effort to evoke belated repentance in his opponent, to awaken his conscience! No use! Grushnitsky shoots first. “The bullet grazed my knee,” comments Pechorin. The play of good and evil in the hero’s soul is a great artistic discovery of Lermontov the realist. Before the duel, Grigory Alexandrovich makes a kind of deal with his own conscience. Nobility is combined with mercilessness: “I decided to provide all the benefits to Grushnitsky; I wanted to test him; a spark of generosity could awaken in his soul... I wanted to give myself the full right not to spare him if fate had mercy on me.” And Pechorin does not spare the enemy. The bloody corpse of Grushnitsky slides into the abyss... Victory does not bring Pechorin joy, the light fades in his eyes: “The sun seemed dim to me, its rays
e warmed up."
Let's sum it up" practical activities"Pechorina: because of a trifle, Azamat puts his life in serious danger; the beautiful Bela and her father die at the hands of Kazbich, and Kazbich himself loses his faithful Karagöz; the fragile world of “honest smugglers” collapses; Grushnitsky is shot in a duel; Vera and the princess suffer deeply Mary; Vulich’s life ends tragically. What made Pechorin “an ax in the hands of fate”?
Lermontov does not introduce us to chronological biography your hero. The plot and composition of the novel are subordinated to one goal - to deepen the socio-psychological and philosophical analysis of the image of Pechorin. The hero appears the same in different stories of the cycle, does not change, does not evolve. This is a sign of early “deadness”, the fact that before us is really a half-corpse, in whom “some kind of secret cold reigns in the soul, when fire boils in the blood.” Many of Lermontov's contemporaries tried to limit all the richness of the image to one quality - egoism. Belinsky resolutely defended Pechorin from accusations of lacking high ideals: “You say that he is an egoist? But doesn’t he despise and hate himself for this? Doesn’t his heart long for pure and selfless love? No, this is not selfishness... "But what is this? Pechorin himself gives us the answer to the question: “My colorless youth was spent in a struggle with myself and the world; my best feelings, fearing ridicule, I buried in the depths of my heart; they died there...” Ambition, thirst for power, and
The desire to subjugate those around him to his will takes possession of the soul of Pechorin, who “from the storm of life... brought out only a few ideas - and not a single feeling.” The question of the meaning of life remains open in the novel: “...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 strength in my soul.. But I did not guess this destination, I was carried away by the lures of passions, empty and ungrateful; from their crucible I emerged as hard and cold as iron, but I lost forever the ardor of noble aspirations, the best color of life.”
Perhaps the tragedy of Pechorin’s fate is connected not only with the social conditions of the hero’s life (belonging to a secular society, political reaction in Russia after the defeat of the Decembrist uprising), but also with the fact that the sophisticated ability for introspection and brilliant analytical thinking, “the burden of knowledge and Doubts" lead a person to a loss of simplicity and naturalness. Even the healing power of nature is unable to heal the hero’s restless soul.
The image of Pechorin is eternal precisely because it is not limited to the social. The Pechorins still exist, they are next to us...
And the soul breaks out into space
From under the power of the Caucasian communities -
The bell rings and rings...
The young man's horses are rushing to the north...
To the side I hear the caw of a raven -
I can see the corpse of a horse in the darkness -
Drive, drive! Shadow of Pechortsna
He's catching up with me...
These are lines from the wonderful poem by Ya. P. Polonsky “On the way from beyond the Caucasus.”
Is Pechorin tragic hero?
Pechorin Grigory Alexandrovich, the main character of the work, appears in all five parts of the novel. Maxim Maksimych, in a fatherly manner, talks about his subordinate: “... He was so thin, white, his uniform was so brand new.” The kind Maxim Maksimych sees contradictions in Pechorin’s behavior: “...He was a nice little guy, only a little strange - sometimes he was silent for hours, sometimes he made people laugh in such a way that “you’ll tear your tummies.” The staff captain is sure that there are people with whom \g.\lo certainly agree with. By extraordinary things must happen to them.
A more detailed portrait (psychological) is revealed in the psychological story “Maksim Maksimych” through the eyes of the narrator: “His personality was lazy and careless, but... he didn’t wave his arms -
a sure sign of some secrecy of character. Despite the light color of his hair, his mustache and eyebrows were black - a sign of the breed in a person.”
It is obvious that Lermontov's Pechorin belongs to the disillusioned young people of that era. He continues the gallery " EXTRA people" His bright abilities and powers do not find worthy use and are wasted on fleeting hobbies and senseless and sometimes cruel experiments on others. Already at the beginning of the novel, the hero’s self-confidence sounds: “My soul is spoiled by light, my imagination is restless, my heart is insatiable: everything is not enough for me: I get used to sadness as easily as to pleasure, and my life becomes emptier by the day...” The best features Maxim Maksimych, the “Russian Caucasian” of Yermolov’s hole, is highlighted by the moral anomalies of Pechorin’s nature with its inner coldness and spiritual passion, genuine interest in people and selfish self-will. Pechorin admits: “...I have an unhappy character: whether my upbringing made me this way, whether God rewarded me this way, I don’t know; I only know this. that if I am the cause of the misfortune of others, then I myself am no less unhappy.” The confession of the main character reveals internal motives of spiritual melancholy and boredom; the hero is not able to find happiness in achieving life goals, since upon achieving them he immediately loses interest in the result of his efforts. The causes of this moral illness are partly related to the “corruption of the world,” which corrupts young souls, and partly to the premature “old age of the soul.”
In his journal, Pechorin analyzes the external and internal events of his life. His sober introspection, clear understanding of himself and other people - all this emphasizes the strength of character, his earthly, multi-passionate nature, doomed to loneliness and suffering, a tireless struggle with his unhappy fate.
Pechorin is a wonderful actor, deceiving everyone and partly himself. There is both the player’s passion and tragic protest, the desire to take revenge on people for their grievances and suffering invisible to the world, for a failed life.
“Pechorin’s soul is not rocky soil, but earth dried up from the heat of fiery life...” notes V.G. Belinsky. Pechorin did not bring happiness to anyone, he did not find a friend in life (“of two friends, one is the slave of the other”), nor love, nor his place - only loneliness, unbelief, skepticism, fear of seeming funny in the eyes of society.
He “drives madly out.” life,” but finds only boredom, and this is the tragedy not only of Pechorin, but of his entire generation.
What is the contradictory character of Pechorin?
“A Hero of Our Time” is the first major social-psychological novel in Russian literature. The main problem of the novel “A Hero of Our Time” is defined by M.Yu. Lermontov in the preface; he paints “a modern man as he understands him,” the hero is not a portrait of one person, but “a portrait made up of the vices of our entire generation.” The image of Pechorin gave expression to the fundamental features of the post-Decembrist iiioxii in which, according to Herzen, on the surface “ONLY losses were visible,” but inside “they were being committed.” great work... deaf and silent, but "...singular and continuous."
Pechorin himself, reflecting on his life, finds in it much in common with the fate of an entire generation: “We are no longer capable of great sacrifices, either for the good of humanity, or even for our own happiness, because we know its impossibility and indifferently pass from doubt to doubt "
Pechorin, like an evil ray, brings suffering to everyone who crosses his path: Bela and her loved ones, the family of “honest smugglers.” Mary, Grushnitsky. At the same time, he is the strictest judge of himself. He calls himself a “moral cripple” and more than once compares himself to an executioner. No one understands better than Pechorin how empty and meaningless his life is. Remembering the past before the duel, HE cannot answer the question: “Why did I live? For what purpose was I born? Life torments Pechorin: “I am like a man yawning at a ball, who does not go to bed only because his carriage has not arrived yet.” But still living soul Pechorina shows herself in shock:!! the death of Bela, in tears of despair, when he realized that he had forever lost Faith in the capable! and about I giving in to the charm of nature even before a duel, in the ability to look at myself from the outside.
In Mary's confession, Pechorin accuses society of becoming a “moral cripple.” Pechorin repeatedly talks about his duality, about the contradiction between his human essence and existence. He admits to Doctor Vsrnsr: “There are two people in me: one lives in the full sense of the word, the other thinks
lit and judges him...” To live for Pechorin, and this is precisely the function of the first person - “to be always on the alert, to catch every glance, the meaning of every word, to guess intentions, to destroy conspiracies, to pretend to be deceived and suddenly with one push to overturn everything huge and difficult a building of tricks and plans..."
Pechorin differs from the rest of the characters in the novel because he is gay, because he is concerned about questions of conscious human existence - about the purpose and meaning of human life, about his purpose. He's worried. THAT its only purpose is to destroy other people's hopes.
What is most important for Pechorin: honor, duty, conscience, freedom?
Roman M.Yu. Lermontov's “Hero of Our Time” - psycholo! a-chesky novel.
At its center is the “story of the soul” of an extraordinary personality early XIX century.
The imprint of fate was in Pechorin’s soul, and he knew his fate) Pechorin strove for his death and knew how he would die. For a person who thinks so much about himself, I think it will be more important to sow freedom. He is ready to put his honor and conscience on the line for the sake of freedom.
Pechorin didn’t have a home at all; he didn’t want to tie himself to anything. Pechorin was, in my VIEW, ideal person, cold and strong. This man caused pain without remorse. with pleasure and gusto. Literary prototype Pechorin became a Demon who despised everything. life itself. So. for the hero of our time, the goal of life was to “repress” from life all possible feelings and experiences that a person could feel. But standing in ONE place, how could he have accomplished this? No!
Lermontov wrote in the preface that Pechorin IS not a portrait of the author. But. I think it was just a hoax. In Article Vl. Solovyov, where the philosopher describes Lermontov’s inner world, there are lines very similar to Pechorin’s diary entry: “I feel in myself this insatiable greed, absorbing everything. what is found in nougat: I look at the sufferings and joys of others only in relation to myself, as food that supports my spiritual strength. . and my first pleasure is to subordinate to my will everything that surrounds me.”
This is why the hero of our time needs freedom!
The determining factor in the novel, in my opinion, is the motive of Fate. This is confirmed by constant accidents. Fate guides the hero. Fate and chance are controlled by God, who sent the soul in the image of Pechorin so that it could decide, make a choice. Here is the answer to the question: a soul like that of Pechorin and Lermontov cannot tie itself to the earth and decides throughout its life who it is. I. in my opinion, Pechorin decided who he was: the Demon, Mephistopheles and the Devil, eternal from the grave. lonely, but free.
I agree with Pechorin’s point of view: the main thing for a person is not duty, not honor, or even conscience, but freedom, without which one cannot serve one’s duty, take care of one’s honor and act according to one’s conscience.
Which cell does Pechorin start a love affair with?
With Princess Mary? (but the novel by M.Yu. Lermontov
"Hero of Our Time")
In the novel “Hero of Our Time,” Lermontov set the task of comprehensively and multifacetedly revealing the personality of his contemporary, showing a portrait of a “hero of the time,” “composed of the vices” of the entire generation “in their full development,” as the author said in the preface to the novel. All plot lines are reduced to a central image, but a special role is played by the love affair, which is present in almost every part of the novel. After all, one of the main features of the “hero of the times” is “premature old age of the soul,” in which “... some kind of secret cold reigns in the soul, / When fire boils in the blood.”
The story is about that. how Pechorin achieves the favor and love of Princess Mary, shows the secret motives of the actions of the hero, who always strives to rule in everything, while maintaining his own freedom. He makes people toys in his hands, forcing them to play by his own rules. And as a result, broken hearts, suffering and death of those who met on his way. He is truly like “the executioner in the fifth act of a tragedy.” This is precisely his role in Mary’s fate.
A girl who, like Pechorin, belongs to high society, Princess Mary has absorbed much of the morals and customs of her environment since childhood. She is beautiful, proud, unapproachable, but at the same time she loves worship and attention to herself. Sometimes she seems spoiled and
capricious, and therefore the plan developed by Pechorin to “seduce” her does not at first evoke strong condemnation from the reader.
But we also notice other qualities of Mary, hiding behind the appearance of a social beauty. She is attentive to Grushitsky. whom he considers a poor, suffering young man, cannot stand the ostentatious boasting and vulgarity of the officers who make up the “water society.” Princess Mary shows strong character, when Pechorin begins to implement his “plan” to win her heart. But the trouble is, Pechorin admits that he does not like “women with character.” He does everything. to break them, conquer and subjugate them. AND, To unfortunately. Mary fell victim to it, like the others. Is she guilty of this?
In order to understand THIS, you need to look at what Pechorin “plays” to win her favor. Key scene- this is Pechorin’s conversation with Mary on a walk near the hole. “Taking on a deeply moved look,” the hero “confesses” to the inexperienced girl. He tells her about how the dog saw his vices from childhood, and as a result he became a “moral cripple.” Of course, there is a particle of truth in THESE words. But Pechorin’s main task is to evoke the girl’s sympathy. Indeed, her kind soul was touched by this story, and as a result she fell in love with Pechorin for his “disappearances.” And THIS feeling turned out to be deep and serious, without the edge of coquetry and narcissism. And Pechorin achieved his goal: “...After all, there is immense pleasure in possessing a young, barely blossoming soul!” - the hero remarks cynically. IN once again he showed the most negative traits of his character: selfishness, heartlessness And spiritual coldness, desire for power over people.
The last scene of Pechorin and Mary’s explanation evokes keen sympathy for the unfortunate girl. Even Pechorin himself “began to feel it.” The verdict is merciless, the cards are revealed: the hero announces that he laughed at her. And the princess can only suffer and hate him. and for the reader to reflect on how cruel a person can be, consumed by selfishness and the desire to achieve his goals, no matter what.
Is Pechorinfatalist?(based on the novel by M.Yu. Lermontov “Hero of Our Time”)
Lermontov’s novel “A Hero of Our Time” is rightly called Be only socio-psychological, but also moral
philosophical. The question of free will and predestination, the rage of fate in the second life of man is considered in one way or another in all parts of the novel. No detailed description of it is given only in the final part - the philosophical story “Fatalist”, in which the story plays the role of a kind of epilogue.
A fatalist is a person who believes in the predetermination of all events in life, in the inevitability of fate, fate, fate. In the spirit of his time, which reconsiders the fundamental questions of human existence, Pechorin tries to decide whether the purpose of man is predetermined by the highest will or whether he himself determines the laws of life and follow them,
As the action of the story develops, Pechorin receives triple confirmation of the existence of a preeminent estate and destiny. Officer Vulich. with whom the hero makes a risky bet, was unable to shoot himself, although the gun was loaded. Chatham Vulich still dies at the hands of a drunken Cossack, and in THIS Pechorin does not mess with the nipple, since even during the dispute he marked the “seal of death” on his line. And finally, Pechorin himself tests fate, deciding to disarm the drunken Cossack, the murderer of Vulich. “...A strange thought flashed through my head: like Vulich. “I decided to try my luck,” says Pechorin.
What is the answer of the “hero of the time,” and with him the writer himself, to this the most difficult question? Pechorin’s conclusion sounds like this: “I like to doubt everything: this disposition of mind does not interfere with the decisiveness of character: on the contrary, as for me, I always move forward more boldly when I don’t know what awaits me.” As we see, the failed fatalist turned into his own the opposite. If he is ready to admit that predestination exists, then it is not at all to the detriment of the activity of human behavior: to be just a toy in the hands of fate, according to Pechorin, is humiliating.
Lermontov gives exactly this interpretation of the problem, without unequivocally answering the question that tormented the philosophers of that time. It seems that in the story that concludes the novel there is no solution to the problem of the judge. But by showing that the hero, who expresses thoughts about the possibility and existence of predestination, in all situations prefers to act as a person endowed with free will, Lermontov, in fact, shows the path to a solution.
Why " Dead Souls" - a poem?
The author himself defined the genre of his work as a poem, thereby emphasizing the equality of the epic and lyrical principles 1 in “The Dead i\i The epic and lyrical parts differ in the goals that the author sets. The task of the epic part is to show “albeit on one side Rus'.”
The main means of depicting Russian life in the poem is detail. With its help, Gogol shows the typicality of the provincial holy fool, who “was not inferior to other provincial holy fools,” a landscape representing “well-known species.” I point out such techniques! on a realistic method of creating thunder reference.
In addition, the detail also acts as a means of individualization. Sobakevich looks like a “medium ham bear,” and his tailcoat is “completely copper-colored.”
In the epic, the writer is especially attentive to the world of things (a feature of the “natural school”!: things are created, but the reverse process also occurs; man becomes the likeness of a thing.
In the lyrical part, the positive ideal of the author arises, which is revealed through lyrical digressions about Russia, linking together the themes of the road, the Russian people and the Russian word (“Oh, loud” bird-three, who invented it? Isn’t it you too. Russia, what a lively Are you rushing ahead of the troika?”).
Such oppositions (epic and lyrical) are reflected in the language of the poem. The language of lyrical digressions is characterized by a high style, the use of metaphors, metaphorical epithets (“piercing finger”), hyperbole, rhetorical questions (“What kind of Russian doesn’t like driving fast?”), exclamations, repetitions, gradations.
The language of the epic part is simple, colloquial. Vernaculars are widely used. PROVERBS. The main means of creating and characterizing characters is irony.
Based on the issues raised by Gogol, “Dead Souls” is called the “Russian Odyssey.” The novel's beginning, unrelated episodes that are united by the hero's adventures, the cross-cutting theme of the road, broad social pressures that end in the poem, the presence of inserted memories (the short story "The Tale of Captain Kopsykin" and the parables of Kif Mokievichs and Mokni Kifovich) - all this indicates on the epic side of the work.
The presence of a huge number of lyrical digressions depicting the positive ideal of the author, the presence of the author himself, expressing his attitude to what is happening, discussing philosophical topics, touching on the topics of writing, poetic language these digressions - this characterizes the work as a poem. Thus, before the reader is an original work of an unusual genre - the poem “Dead Souls”.
Why N.V. Gogol uses precisely
artistic detail
as the main means of psychologism?
Detail is special artistic technique, which is necessary to create the maximum full image. Through a detail you can show some comic situation, indicate something typical in heroes or. on the contrary, emphasize individual traits. The technique of detailing is used, as a rule, in epic works.
N.V. Gogol is a recognized master of detail. Not only the large-scale poem “Dead Souls” is filled with details, but also dramatic work- comedy "The Inspector General". Most bright that example - silent scene. In it, the author, reminding both the heroes and the audience about the Last Judgment, describes in detail the poses in which the heroes freeze. So. for example, the mayor stops with me “in the middle in the form of a pillar, with outstretched arms and head thrown back.”
The technique of detailing is sometimes used to create a comic effect. At the end of the 1st act, the mayor tries to put on a box instead of a hat, which shows his excitement and fear of Khlestakov, whom all the officials of the district town mistook for an auditor.
Khlestakov, in the climactic scene of a lie, talks about a soup that “came straight from Paris on the boat,” and a watermelon on his table, “a seven-hundred-ruble watermelon.” A detail can act not only as a means of individualization, but also as a means of typification. So. for example, preparing for a meeting with the “auditor”, the mayor, having gathered officials, gives instructions to everyone. He knows what is going on in every department: in charitable institutions, patients “recover like flies”, walk around in dirty caps, goslings walk in Lyaikin-Tyapkin’s public place, and in the most visible place hangs an arapix. These details perfectly characterize not only the characters, but also the city, all of Russia
The plot of the poem “Dead Souls” is filled with descriptions, both epic and lyrical digressions. In the chapters devoted to Chichikov’s visits to landowners, one can highlight their own microplot.
First, Chichikov enters the estate, he is greeted by the landowner (here is a description of the estate, a portrait of the landowner, the interior, the author describes the treat in detail), the climax is Chichikov’s conversation with the landowner about the sale of dead souls. then the departure of the main character. And in each of these descriptions Gogol uses many details. For example, characterizing Plyushkin, calling him “a hole in humanity,” he points out that the house of the former zealous owner looked like a gigantic castle, which spoke of former wealth, but now the home resembled a decrepit disabled person. The streets in the village were very clean, but not because the peasants cleaned them, but because of it. that Plyushkin himself went out in the morning on a kind of hunt: he dragged everything into the house. what I found on the street.
Describing Manilov, the first landowner to whom Chichikov came, the author uses such a portrait detail as “too much sugar” in the pleasant features of his face. Interior details (a chair covered with matting, two different candlesticks), object details (a book placed on page 14, neat pyramids of ash knocked out of a pipe) - all this helps to create an image and characterize this character.
The detail is vital for Gogol's work. F>ei there is no Gogol with his delicious dinners, colorful landscapes, bright portraits, memorable speech characteristics.
Is it possible to agree with A. Bely’s statement that
that “Chichikov is a real devil”?
(based on N.V. Gogol’s poem “Dead Souls”)
Once upon a time, the philosopher Hegel rightly noted that a work of art is a dialogue with everyone standing in front of it. Maybe. precisely because Oh Disputes often arise about the meaning of a particular literary work, about its characters. Symbolist poet Andrei Bely, who once wrote an interesting work about the work of Go-go. I saw a terrible, mystical meaning in the image of Chichikov. I think. THAT one can make arguments both for and against such a point of view, depending on how one interprets this controversial literary image.
On the one hand, Chichikov is a special type of Russian person,
a kind of “hero of the time”, whose soul is “enchanted by wealth”
vom." “Scoundrel-acquirer”, in pursuit of capital he loses
understanding of conscience, decency. The thirst for profit killed him too
the best human feelings, left no room for the “living” soul.
she tweeted, On the other hand, this hero, like a real devil, is merciless and terrible, when he strives to achieve his goal with unbridled energy, he is both watchful and cunning, he knows how to turn the weaknesses and vices of people to his advantage.
Until the 11th chapter, where Chichikov’s biography is given, his character is not fully defined. After all, with every new person he meets on his way, he looks different: with young Mani - sheer politeness and complacency, with Ozdrev an adventurer, with Sobakevich - a zealous owner. He knows how to find an approach to everyone and selects the right elephant for everyone. As a “true devil,” Chichikov has the ability to penetrate the most secret corners of people’s minds. i but he needs it to successfully complete his terrible “business” - buying “dead carcasses”. That is why something devilish is sometimes visible in Chichikov’s appearance: psi. the hunt for dead souls is a primordial activity of the devil. It is not without reason that city gossip, among other things, calls him the Lord, and in the behavior of officials one can see something apocalyptic, which is reinforced by the picture of the death of the prosecutor.
But let us remember Gogol’s unrealized plan, according to which from the first volume, which embodies the “Hell” of Russian action,