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“A Hero of Our Time” by M.Yu. Lermontov as a psychological novel

A Hero of Our Time is the first psychological novel in Russian literature. The work was completed by 1839, and in it Lermontov sums up his reflections on what is " modern man”, what role will the generation of the 30s play in the history of Russia. And in the image of Pechorin, M.Yu. Lermontov summarized the typical features younger generation of his era, creating the image of a man of the 30s of the XIX century. Despite many coincidences between the author and the hero, Lermontov strives for maximum objectivity of the narrative. The author compares himself to a doctor who diagnoses a diseased eyelid:

Sadly, I look at our generation!

His future is either empty or dark,

Meanwhile, under the burden of knowledge and doubt,

It will grow old in inaction.

A psychological novel is not only an interest in the inner world of a person. Psychologism starts where the controversy begins where a struggle arises between the inner life of a person and the circumstances in which he is placed.

M.Yu. Lermontov himself spoke like this about his work : “the history of the human soul". This is the theme, the essence of the novel.

Turning to this topic, M.Yu. Lermontov continued Pushkin's traditions. Belinsky remarked, that Pechorin “is the Onegin of our time”, thus, emphasizing the continuity of these images and their difference, due to the era. Following A.S. Pushkin, M.Yu. Lermontov revealed the contradiction between the inner abilities of his hero and the possibility of their realization. However, in M.Yu. Lermontov this contradiction is exacerbated, since Pechorin is an extraordinary personality, endowed with a powerful will, high intelligence, insight, deep understanding true values.

Note the unusual composition of the novel. It consists of five separate stories arranged in such a way that the chronology of the hero's life is clearly violated. In each story, the author places his hero in a new environment, where he encounters people of a different social position and mental warehouse: highlanders, smugglers, officers, noble "water society". Thus, M.Yu. Lermontov leads the reader from Pechorin's actions to their motives, gradually revealing the hero's inner world. Vladimir Nabokov in an article dedicated to the novel Lermontov, writes about the complex system of storytellers:

Pechorin through the eyes of Maxim Masimych ("Bela")

Pechorin with his own eyes ("Pechorin's Journal")

In the first three stories(“Bela”, “Maxim Maksimych”, “Taman”) only the actions of the hero are presented, which demonstrate examples of Pechorin's indifference, cruelty to the people around him: Bela became a victim of his passions, Pechorin did not spare the poor smugglers. The conclusion involuntarily suggests itself that its main psychological feature is imperiousness, selfishness: “What business is it for me, a wandering officer, to human joys and misfortunes?”

But this opinion turns out to be wrong. In the story "Princess Mary" we see a vulnerable, deeply suffering and sensitive person. We learn about Pechorin's love for Vera, and the reader's attitude towards the hero changes, becomes more sympathetic. Pechorin understands the hidden mechanism of his psychology: “There are two people in me: one lives in the full sense of the word, and the other thinks and judges him.” One should not think that everything written by Pechorin in the diary is the truth of his character. Pechorin is not always sincere with himself, and does he understand himself to the end?

Thus, the character of the hero is revealed to the reader gradually, as if reflected in many mirrors, and none of these reflections, taken separately, gives an exhaustive description of Pechorin. Only the totality of these arguing voices creates a complex and contradictory character of the hero.

When in an orchestra we hear not each instrument separately, but simultaneously all their voices, this is called polyphony. By analogy, such a construction of the novel, where neither the author nor any of the characters express main idea works directly, and it grows out of the simultaneous sounding of several voices is called polyphonic. This term was introduced by M. Bakhtin, a major connoisseur of world literature. Roman Lermontov has polyphonic character. Such a construction is characteristic of a realistic novel.

A trait of realism is something else: in the novel there are no clearly positive and bad guys. Lermontov creates psychologically plausible portraits of living people, in each of which, even the most repulsive, like Grushnitsky, there are attractive and touching features, and the main characters are as complex as life itself.

But what does Pechorin waste his spiritual wealth, his immense strength on?? For love affairs, intrigues, skirmishes with Grushnitsky and dragoon captains. Pechorin feels the discrepancy between actions and high, noble aspirations. Constant attempts to understand the motives of his actions, constant doubts lead to the fact that he loses the ability to simply live, feel joy, fullness and strength of feeling. The feeling of the world as a mystery, a passionate interest in life in Pechorin are replaced by alienation and indifference.

However, Pechorin can not be called an inhuman cynic, after all, performing “the role of an executioner or an ax in the hands of fate,” he suffers from this no less than his victims. Yes, he always comes out victorious, but this does not bring him any joy or satisfaction. The whole novel is a hymn to a courageous, free personality and at the same time a requiem to a gifted person who could not “guess his high purpose”.

Another personality trait of the hero makes this novel serious. psychological work- This is the hero's desire for self-knowledge. He constantly analyzes himself, his thoughts, actions, desires, his likes and dislikes, trying to uncover the roots of good and evil in himself.

An in-depth introspection of the hero has a universal significance in the novel, revealing an important stage in the life of every person. Pechorin, and the author along with him, speak of self-knowledge as the highest state of the human soul.

The main goal of the novel - the disclosure of the "history of the human soul" - is also served by such artistic means, like a portrait of a hero and a landscape. Since the hero lives in a world of broken ties, you feel an inner split, this is also reflected in his portrait. The description of the hero's appearance is built on antitheses: young, physically strong man, but in his appearance one can feel “nervous weakness”, fatigue. There is something childish in Pechorin's smile, but his eyes look cold and never laugh. With similar details, the author brings us to the conclusion: the soul of an old man lives in the body of a young man. But in the hero there is not only the innocence of youth, but also the wisdom of old age. Physical strength, spiritual depth, giftedness of the hero remain unrealized. His pallor resembles that of a dead man.

Pictures of nature in the novel are not only consonant with the psychological states of the characters, but are also filled with philosophical content. The images of nature are symbolic and inherited from the lyrics. The novel opens with a description of the majestic Caucasian nature, which should create a special attitude. The natural world in the novel is characterized by integrity, all the beginnings in it are harmoniously mated: snow-capped mountain peaks, stormy rivers, day and night, the eternally cold light of stars. The beauty of nature is life-giving and capable of healing the soul, and the fact that this does not happen testifies to the depth of the hero's mental illness. More than once the hero writes inspired lines about nature in his diary, but, unfortunately, the power of natural beauty, like that of women, is fleeting, and again the hero returns to the feeling of the emptiness of life.

Having created the character of Pechorin, a strong, proud, controversial, unpredictable hero, Lermontov contributed to the comprehension of man. The author sincerely regrets the bitter fate of his contemporaries, forced to live as superfluous people in their country. His moral appeal to the reader that one should not go with the flow of life, that one should appreciate the good that life gives, expanding and deepening the possibilities of one's soul.

"Hero of Our Time" - the first psychological novel in Russian literature

In the novel A Hero of Our Time, Lermontov developed the realistic trend laid down in Russian literature by Pushkin's work and provided an example of a realistic psychological novel. Having deeply and comprehensively revealed the inner world of his characters, the writer told "the story of the human soul." At the same time, the characters of the heroes are determined by the time and conditions of existence, many actions depend on the mores of a certain social environment (“simple person” Maxim Maksimych, “honest smugglers”, “children of the mountains”, “water society”). Lermontov created a socio-psychological novel in which the fate of an individual depends both on social relations and on the person himself. For the first time in Russian literature, the heroes subjected themselves, their relationships with others to merciless analysis, their actions to self-assessment. Lermontov dialectically approaches the characters' characters, showing their psychological complexity, their ambiguity, penetrating into such depths. inner peace that were not available in the previous literature. “There are two people in me: one lives in the full sense of the word, the other thinks and judges him,” Pechorin says. In his heroes, Lermontov seeks to capture not the static, but to capture the dynamics of transitional states, the inconsistency and multidirectionality of thoughts, feelings and actions. A person appears in the novel in all the complexity of his psychological appearance. Most of all, this applies, of course, to the image of Pechorin. To create a psychological portrait of the hero, Lermontov resorts to cross-characterization of him by other characters. Any one event is told from different points of view, which makes it possible to more fully understand and more clearly depict Pechorin's behavior. The image of the hero is built on the principle of gradual “recognition”, when the hero is given either in the perception of Maxim Maksimych (through the people's consciousness), then the “publisher” (close to the author's position), then through the diary of Pechorin himself (confession, introspection). The composition of the novel also serves to deep understanding of the psychology of the hero. "A Hero of Our Time" consists of five stories: "Bela", "Maxim Maksimych", "Taman", "Princess Mary" and "Fatalist". These are relatively independent works, united by the image of Pechorin. Lermontov violates the chronological sequence of events. Chronologically, the stories should have been arranged as follows: "Taman", "Princess Mary", "Fatalist", "Bela", "Maxim Maksimych", a preface to Pechorin's journal. The displacement of events is due to the artistic logic of the disclosure of character. At the beginning of the novel, Lermontov shows the contradictory actions of Pechorin, which are difficult to explain to others (“Bela”, “Maxim Maksimych”), then the diary clarifies the motives of the hero’s actions, his characterization deepens. In addition, stories are grouped according to the principle of antithesis; the reflective egoist Pechorin ("Bela") is opposed to the integrity of the sincerely kind Maksim Maksimych ("Maxim Maksimych"); “Honest smugglers” with their freedom of feelings and actions (“Taman”) is opposed to the conventionality of the “water society” with its intrigues, envy (“Princess Mary”). The first four stories show the impact that the environment has on the formation of personality. The Fatalist poses the problem of man's opposition to fate, i.e. his ability to resist or even fight the predetermination of fate. In “A Hero of Our Time”, Lermontov, in the image of Pechorin, continued the theme “ extra people”, started by Pushkin. Pechorin is a typical representative of the noble youth of the 1830s. Lermontov writes about this in the preface to the 2nd edition of the novel: "This is a portrait made up of the vices of our entire generation, in their full development." The hero of the 1830s - the time of reaction after the defeat of the Decembrists - a man disappointed in life, living without faith, without ideals, without attachments. He has no purpose. The only thing he values ​​is his own freedom. “I am ready for all sacrifices… but I will not sell my freedom.” Pechorin rises above his environment by strength of character, understanding of the vices and shortcomings of society. He is disgusted with falsehood and hypocrisy, the spiritual emptiness of the environment in which he was forced to rotate and which morally crippled the hero. Pechorin is by nature not devoid of kindness and sympathy; he is brave and capable of self-sacrifice. His gifted nature was born to vigorous activity. But he is the flesh of the flesh of his generation, his time - in the conditions of despotism, in the "deaf years" his impulses could not be realized. This devastated his soul, made a skeptic and a pessimist out of a romantic. He is convinced only that "life is boring and disgusting", and birth is a misfortune. His contempt and hatred for the upper world develop into contempt for everything around him. He turns into a cold egoist, bringing pain and suffering even to nice and kind people. Everyone who encounters Pechorin becomes unhappy: out of an empty whim, he pulled Bela out of his usual life and ruined her; in order to satisfy his curiosity, for the sake of a slightly invigorating adventure, he plundered a nest of smugglers; without thinking about the injury that Maxim Maksimych inflicts, Pechorin breaks off his friendship with him; he brought suffering to Mary, offending her feelings and dignity, disturbed the peace of Vera - the only person who managed to understand him. He realizes that he "unwittingly played the pitiful role of an executioner or a traitor." Pechorin explains why he became like this: “My colorless youth flowed in the struggle with myself and the light, ... my best feelings, fearing ridicule, I buried in the depths of my heart: they died there.” He was a victim of both the social environment and his own inability to resist its hypocritical morality. But, unlike others, Pechorin is fundamentally honest in self-assessments. No one can judge him more severely than himself. The tragedy of the hero is that he “did not guess this appointment, ... was carried away by the bait of empty and ungrateful passions; ... has lost forever the ardor of noble aspirations, the best color of life.

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Ministry of Education and Science of the Russian Federation

Federal state budget educational

institution of higher professional education

"Moscow Pedagogical State University"

Faculty of Philology Department of Russian Literature

ABSTRACT

on the topic of:"Hero of our time"M.Yu. Lermontov as the first psychological novel in Russian literatureXIXcentury

Executor:

Pustobaev S.A.

student 202 groups, 2nd year

Scientific adviser:

Professor Sapozhkov S.V.

Moscow 2016

Introduction

1. The idea of ​​the novel

1.1 Meaning of the novel's title

2. Compositions of the novel

3.1 Features of the portrait

4. Reflection

Conclusion

Bibliography

Introduction

M.Yu. Lermontov began to work on the novel in 1838, based on Caucasian impressions. In 1840, the novel was published and immediately attracted the attention of both readers and writers. They stopped with admiration and bewilderment before this miracle of the Russian word. What is most striking in the novel is the infinite richness of the poetic form, so perfect and so diverse in its style and genres. Being a socio-psychological novel as a whole, “A Hero of Our Time” is both a lyrical diary (in “Princess Mary”), and a philosophical story (“The Fatalist”), and an “adventure story” amazing in natural ease of drawing (“Taman” ), and a travel essay (the beginning of "Bela" and "Maxim Maksimych"), and a romantic poem ("Bela").

Purpose: To assess the current level of knowledge of the student.

1) Preparation for the colloquium, without fail, studying all the scientific literature recommended on the topic.

2) Making a written detailed answer to each question of the seminar, as well as to each sub-question, in accordance with the proposed plan.

2) Building an argument based on the analysis of specific textual episodes, situations, artistic details, with relevant quotations.

1. The idea of ​​the novel

1.1 Meaning of the novel's title

Lermontov psychological novel

creative history"A Hero of Our Time" is almost not documented and is established on the basis of text analysis and partly according to indications in memoirs (often inaccurate and contradictory). Perhaps, “Taman” was written earlier than other stories: according to the memoirs of P. S. Zhigmont, it was sketched “roughly” in the apartment of S. O. Zhigmont (autumn 1837). There is reason to believe that "The Fatalist" was written after "Taman" and, perhaps, before the idea of ​​the whole novel took shape. According to other assumptions, "The Fatalist" was written later than "Maxim Maksimych" (B. Eikhenbaum), and "Taman" - the last of the stories included in the novel (E. Gershtein). The idea of ​​the novel as a "long chain of stories" finally took shape with Lermontov, probably in 1838. In the earliest edition of the novel, the first of the stories that made it up was "Bela"; "Maxim Maksimych" and "Princess Mary" followed her. "Bela" and "Maxim Maksimych", which had the subtitle "From an Officer's Notes", constituted the first "objective expositional" part of the novel, "Princess Mary" - its second, main part, containing the confessional self-disclosure of the hero. Most likely in Aug. -- Sept. 1839 Lermontov rewrote all the "chapters" of the novel (with the exception of "Bela", which had been published by that time) from drafts in a special notebook, making some corrections in the process of rewriting. At this stage of work, the chapter "The Fatalist" entered the novel. In this edition, the novel was called "One of the heroes of the beginning of the century" [perhaps "of our century", see Gershtein p. 25--31]; now it consisted of "Bela", "Maxim Maksimych", "Fatalist", "Princess Mary". This arrangement is evidenced by a notebook with the autograph of "One of the heroes of the beginning of the century" [see. also, Manuilov s. 157]. As before, the novel was divided into two parts: the first was the notes of the officer-narrator, the second - the notes of the hero. With the inclusion of The Fatalist, the 2nd part and the novel as a whole became deeper, more philosophical, more complete. By the end of 1839, Lermontov created the final edition of the novel, including "Taman" in it and finally determining its composition. Having put the first “Taman” in Pechorin’s notes, Lermontov moved the novella “Fatalist” to the end, which most corresponded to its final philosophical sense. In this edition, the name of the hero's notes appeared - "Pechorin's Journal". Crossing out the ending of "Maxim Maksimych", which prepared the transition to the "notes", Lermontov wrote a special preface to Pechorin's Journal. Thus, the novel has grown to 6 chapters, including the "Preface" to the "Journal" here. The final name appeared - "The Hero of Our Time". A comparison of the manuscript of "One of the Heroes of the Beginning of the Century" with the printed text of "A Hero of Our Time" suggests that between them there was a manuscript that has not come down to us, obviously, a clerk's authorization of a copy from which the novel was typed (see commentary by B. Eikhenbaum, LAB, VI, 650) for the 1st ed., published in Apr. 1840. At the beginning. 1841, in connection with the release of the 2nd ed. "A Hero of Our Time", Lermontov wrote the preface to the novel as a whole.

1.2 How his intention is revealed in two prefaces

Let us compare the author's preface to the novel and to Pechorin's journal. There are many mysteries in these prefaces, partly they are opposed to each other. In the preface to the novel, the hero is characterized as "a portrait made up of the vices of our entire generation, in their full development." In the preface to Pechorin's journal, the author hopes that readers "will find justification for the actions in which, until now, a person has been accused."

In the preface to the novel, the author speaks of irony as a preferred position for himself: “Our audience is still so young and simple-hearted that they do not understand a fable if they find moralizing at the end of it. She does not guess the joke, does not feel the irony; she's just ill-bred. She does not yet know that in a decent society and in a decent book, open abuse cannot take place; that modern learning has invented weapons sharper, almost invisible, and yet deadly, which, under flattery, delivers an irresistible and sure blow. One might think that the author's attitude to Pechorin is permeated with irony. But what kind of “clothes of flattery” in relation to the hero can we talk about if the situations of the novel accuse him, and the diary is full of self-revelations? And the preface to Pechorin's journal does not allow us to consider irony as a measure of the author's attitude towards the hero.

1.3 The originality of the "Journal" among the diaries of Lermontov's contemporaries

Many writers of different eras and peoples sought to capture their contemporary, reflecting their time, their ideas, their ideals in his image.

I. Serman wrote: “A.I. Turgenev records all his meetings, all conversations, everything he reads, but nothing about himself, about his thoughts, joys and sorrows. Turgenev's diaries are a notebook, not a diary in the proper sense. This type of entry has nothing to do with the entries in the Pechorin Journal, although it gives a complete picture of the life of that time.

The impact of Pushkin's narrative manner is felt in "Princess Ligovskaya" (1836), where the hero - Pechorin - is directly correlated with Pushkin's Onegin. The tradition of Pushkin's prose here is transformed and complicated by the assimilation of the "Gogol" manner and typically Lermontov's tendencies (open intrusion of journalistic style, philosophical analyticism, deepening of psychological descriptions).

Immediately after the death of Pushkin, the poem "The Death of a Poet" (1837) was written, which most clearly expressed Lermontov's deep understanding of Pushkin's personality and the role of his work for Russia.

The similarities and differences between Lermontov and Pushkin come out especially prominently when comparing The Hero of Our Time and Eugene Onegin, with whom Lermontov’s novel echoes in the depiction of the main character and some minor ones (Grushnitsky is correlated with Lensky; there are features of Zaretsky in the figure of the dragoon captain) , partly in the plot ("Princess Mary"), in the artistic method and the basis of the problem. At the same time, their deep difference is obvious. Lermontov's novel represents the next stage in the development of Russian literature. Pechorin, like Onegin, is a hero of his own, of another time. Lermontov turned to the contradiction discovered by Pushkin between the possibilities of the individual and the insignificant realization of these possibilities, sharpening both sides of the contradiction to the utmost. Pechorin is larger than Onegin both in his potentialities, and in his vices, in his detrimental effect on environment. The image of Pechorin is objectified; at the same time, unlike Onegin, this is a hero, in many respects close to the author in his mental makeup. "A Hero of Our Time" (like "Duma") is not only a criticism of the modern hero and society, but also introspection, with a greater force of denial than in Onegin and with a more detailed analytical disclosure of the inner world of the individual, characteristic of realistic prose.

Of great interest is the work of I.S. Chistova Diary of a guards officer. The researcher was lucky to find the journal of Lieutenant of the Life Guards Semenovsky Regiment K.P. Kolzakov for 1838-1840. Comparing it with Pechorin's Diary, I.S. Chistova revealed the striking similarity of the journals and convincingly proved that the confessional diary is a sign of the times (it is fashionable to keep it, self-observation is relevant). In the magazines of a literary character and a real guardsman, a lot of things echo down to the details: the particulars of social life, the "game" love strategy (often very tough), the desire to observe one's own heart, and even a feeling of boredom and aimlessness of existence.

2. Compositions of the novel

2.1 The role of the image system of the narrators: Maxim Maksimych, the "traveling officer", Pechorin himself

The novel "A Hero of Our Time" consists of several stories that can be perceived as separate literary works. However, each of the components is an integral part of the whole. The peculiarity of the composition is that the individual stories are not arranged in chronological order (i.e., according to the plot), but in a completely different way. The plot, that is, the totality of events in their compositional sequence, does not coincide with the plot. Lermontov was one of the first in the literature to use this technique. For what purpose did he do it? The plot, which does not coincide with the plot, helps to switch the reader's attention from the eventful, external side to the inside, from the detective to the spiritual. In "A Hero of Our Time" the "summit composition" characteristic of a romantic poem is recreated. The reader sees the hero only in tense, dramatic moments of his life. The gaps between them are not filled. We meet the hero in the fortress and in the last scene we also see him in the fortress - this creates the effect of a circular composition. In various parts of the novel, we see the main character from the point of view of different characters: the narrator, Maxim Maksimych, Pechorin himself. Thus, the reader sees Pechorin from the standpoint different people. You can talk about the role of each story in the novel from different points of view: you can focus on the compositional role, you can - on the meaning in revealing the character of Pechorin, on his ability to act in various situations. We will focus on the content of individual stories. "Bela": Pechorin fulfills the romantic stereotype "natural love for a savage". Lermontov realistically debunks the accepted view that such love can be fruitful. Pechorin is shown through the eyes of the ingenuous Maxim Maksimych. “Maxim Maksimych”: Pechorin is drawn in his relationship with his old colleague Maxim Maksimych as a witness to his past: most likely, he was dry with Maxim Maksimych and hurried to part with him, because he did not want to awaken memories of the departed. The narrator tells about Pechorin - a young educated officer who has already heard the story about Bel. "Pechorin's Journal": Pechorin himself talks about himself. "Taman": Pechorin works out a romantic situation of falling in love with an "honest smuggler", which ends badly for him. The peculiarity of the story is that it does not contain fragments of introspection, but there is a narrative close to colloquial speech (this is how Pechorin could tell his comrades about what happened to him). "Princess Mary": the genre basis is a secular story, the events in which, as a rule, are connected with a love affair in secular society and the idea of ​​rivalry between two men. It differs from the colloquial narrative style of Tamani detailed descriptions surrounding and detailed introspection (reflection), is similar to the sharpness of the plot. It is a diary entry. Contains a view of Pechorin from Werner's side, includes remarks from other characters (Vera, Mary, Grushnitsky), describing various manifestations of Pechorin's character. "Fatalist": again we have before us the style of oral narration (as in "Taman"). The content of the story is an attempt to understand the driving forces of the world (rock, fate or the conscious will of a person).

The change of narrators in the novel allows the reader to see the hero from three points of view.

Maksim Maksimovich (talks about Pechorin in the story "Bela")
What kind of narrator (brief description)
This human type is characteristic of Russia for the first time. half of XIX century: this is a man of honor, military duty, discipline. He is innocent, kind, sincere	An educated officer who already knows something about such a strange person as Pechorin. He builds his observations and conclusions taking into account what he knows about the oddities and contradictions of the character of the hero. In terms of level, the officer and Pechorin are much closer, so he can explain some things that are incomprehensible to Maxim Maksimych.	A man thinking about the meaning of life, about his own purpose, trying to understand the inconsistency of his character, Pechorin judges himself and executes himself.
How is the hero
From the story of Maxim Maksimych, Pechorin appears to the reader as a mysterious, enigmatic person who cannot be understood and whose actions cannot be explained. “After all, there are, really, such people who are written in their family that various unusual things must happen to them.”	For the first time on the pages of the novel, a psychological portrait of the hero is given. Pechorin is given living features, the author tries to explain some of Pechorin's actions. The mysteriousness and abstractness of the image give way to concreteness and realism. “... All these remarks came to my mind, perhaps only because I knew some of the details of his life, and, perhaps, his appearance would have made a completely different impression on someone else ...”	The tragic confession of a hero. “The history of the human soul ... is more useful than the history of a whole people, especially when it is the result of a mature mind observing itself and when it is written without a vain desire to arouse interest or surprise.”
Such a distribution of roles between the narrators is not accidental: everything begins with an external, condemning and not very insightful look of Maxim Maksimych, then the most objective assessment of the wandering officer. And finally the last word behind Pechorin himself - his sincere and tragic confession.

3. Psycho-analytical portrait of Pechorin

3.1 Features of the portrait

Through the details of appearance and demeanor, the author explains the features of Pechorin's character. The portrait is built on the principle of contrast: some details contradict others, and behind these external contradictions lie internal contradictions.

1) “He was of medium height; his thin, slender frame and broad shoulders proved a strong build.

2) “There was something childish in his smile” - “... his look is short, but penetrating and heavy ...”

3) “His gait was careless and lazy, but I noticed that he didn’t swing…”

When describing Lermontov, he pays special attention to his eyes: “Firstly, they did not laugh when he laughed! His eyes shone with a "phosphoric brilliance", but "it was not a reflection of the heat of the soul or the playing imagination: it was a brilliance, like the brilliance of smooth steel, dazzling, but cold."

"The look ... could seem impudent if it were not so indifferently calm."

This portrait not only does not help to understand the character of Pechorin, on the contrary, it enhances the feeling of duality.

As it becomes clear later, from the preface to Pechorin's Journal, this portrait of Pechorin is given a few months before his death. On his whole appearance, Pechorin bears the imprint of indifference to himself and others, devastation, weariness from life, old age of the soul: “At first glance at his face, I would not have given him more than twenty-three years, although after that I was ready to give him thirty.”

3.2 Comparison of the portrait with the portraits of the heroes of Pushkin's prose

To compare the methods of portrait characterization of Pushkin and Lermontov, let's turn to Pushkin's Dubrovsky. How is it created portrait characteristic young Dubrovsky? “Vladimir Dubrovsky was brought up in the Cadet Corps and was released as a cornet to the guards ...” “Young Dubrovsky stood at the kliros; he did not cry and did not pray - but his face was terrible. Kirill Petrovich liked this teacher with his pleasant appearance and simple address. We do not meet a detailed description of Vladimir until it comes to the robber Dubrovsky: then he is described as a swarthy, black-haired and black-moustached 35th person and they remember that he was blond as a child, and that he was 23 years old, not 35 years old . Then we get acquainted with the official signs of Dubrovsky, read by the police officer, and find out that the robber has no special signs: “he shaves his beard, has brown eyes, blond hair, a straight nose.”

Pushkin's portrait characteristics are stingy, scattered throughout the text, often momentary - the hero turns pale or grins contemptuously, speaks menacingly, etc. Most often they reflect not the appearance, but the state of the hero - Pushkin creates images of his characters with short, expressive strokes.
Lermontov does otherwise: his portraits are detailed and detailed, they reflect both the appearance and the inner world of the characters. Lermontov's portrait is aimed at creating a complete and accurate image of the character, revealing his internal contradictions, while Pushkin's portraits are dynamic, simple, but significant.

4. Reflection

4.1 The main ideological and psychological dominant of Pechorin's character

In the novel, Pechorin's reflection takes on different forms. One of them is a confession to the interlocutor (Maxim Maksimych, Princess Mary, Werner).

Let us consider in more detail the moment when Pechorin explains to Maxim Maksimych the reasons for his cooling off towards Bela. “Listen, Maxim Maksimych,” he answered, “I have an unhappy character; Whether my upbringing made me that way, whether God created me that way, I don’t know; I only know that if I am the cause of the unhappiness of others, then I myself am no less unhappy; Of course, this is bad consolation for them - only the fact is that this is so. Then Pechorin briefly talks about his relationship with the world, and it turns out that this fate is typical and in many ways similar to the fate of Onegin: satiety and disappointment. The difference between them is that the frustrated Onegin is trying to hide from the world, and Pechorin is constantly exploring life, trying to find a use for himself: “I hoped that boredom did not live under Chechen bullets - in vain: a month later I got so used to their buzzing and to the proximity of death that, really, paid more attention to mosquitoes - and I became more bored than before, because I had almost lost my last hope. Then he turns to love for Bela, but “the love of a savage woman 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 another.” Pechorin is in constant search, but cannot find satisfaction either in love or in service. At the end of this monologue, he concludes: "Am I a fool or a villain, I don't know."

Saying all this, Pechorin not only explains the reason for his cooling towards Bela, but also tries to understand the source of this cooling himself - although the source seems to have been known to him for a long time.

Another person to whom (perhaps more than the rest) Pechorin reveals himself is Dr. Werner. Here is how Pechorin himself characterizes him: “Werner is a wonderful person for many reasons. He is a skeptic and a materialist, like almost all doctors, and at the same time a poet, and in earnest - a poet in deed, always and often in words, although he did not write two poems in his life.< >Usually Werner surreptitiously mocked his patients; but I once saw how he wept over a dying soldier ... ". We will analyze the character of Werner later, but for now this quote will suffice, showing Pechorin's attitude towards Werner. Pechorin recognizes his friend in the doctor, since he does not accept friendship. Their conversation takes place on the way to the duel. It is here that Pechorin speaks about the most important thing for his image: “For a long time I have been living not with my heart, but with my head. I weigh, analyze my own passions and actions with severe curiosity, but without participation. There are two people in me: one lives in the full sense of the word, the other thinks and judges him.
And finally, his confession to Mary. What Pechorin tells her is a classic story of a romantic hero: “I was ready to love the whole world, no one understood me: and I learned to hate.< >I told the truth - they did not believe me: I began to deceive.< >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 ... "But this confession is the most insincere, it is designed for effect:" I... said, assuming a deeply moved look.

Pechorin's internal monologues often take the form of questions to himself: “I sometimes despise myself ... is that why I despise others too? ..< >Why do I value it (freedom) so much? What do I need in it?.. where am I preparing myself? what do I expect from the future?..” So he tries to comprehend his psychological states, his behavior.

Pechorin's analysis is built on two planes: he analyzes not only his actions, but also how they are perceived by other people. Therefore, Pechorin in his diary analyzes the characters of the people around him, he is not closed in on himself, like his French predecessors. Pechorin explores the characters of other people, analyzes them in such detail that he can predict other people's actions and deeds.

In his article “A Hero of Our Time”, Belinsky cites many quotes from the work, explaining that any paraphrasing will distort the meaning. The same can be said about the words of Belinsky himself, so let us quote the main thing. “You anathematize him (Pechorin) not for vices - there are more of them in you and they are blacker and more shameful in you - but for that bold freedom, for that bilious frankness with which he speaks of them.< >Yes, in this person there is strength of mind and power of will, which you do not have; something great flashes in his very vices, like lightning in black clouds, and he is beautiful, full of poetry even in those moments when human feeling rises up against him ...< >His passions are storms that purify the realm of the spirit.< >Even now he speaks out and contradicts himself, destroying with one page all the previous ones: his nature is so deep, rationality is so innate in him, his instinct for truth is so strong! From this we can conclude that Belinsky is delighted with the character of Pechorin, he is aware of the bad sides of the hero’s actions, he explains them by his youth, a necessary stage on the path of growing up.
Further, we read from Belinsky: “If only these passions and contradictions had rationality and humanity, and their results would lead a person to his goal, and the court does not belong to us.” It is here, in my opinion, that there is a weak spot in Pechorin's life position: he is looking for the meaning of life, defends his freedom, which has become an end in itself for him, but his life is dedicated to no one and nothing; as a result - he is free, but unhappy and brings misfortune to others because in his life there is no that very goal.

4.2 Comparison of the duel - Onegin and Lensky; Pechorin and Grushnitsky - and the role of experiment and introspection in Pechorin's behavior

Onegin and Pechorin are two famous heroes of two famous novels. They are often compared to each other. Indeed, they have many similarities. Both are sick of reality, both are cold and indifferent to life, both arouse the sympathy of others. There is another significant similarity between Onegin and Pechorin. Both of them have antipodes in their novels. Onegin has Lensky, Pechorin has Grushnitsky.

Let's analyze the duels

1. The reason for the duel between Onegin and Lensky was Bad mood Onegin and the ardent character of Lensky, in other words, a misunderstanding (although, objectively, it was Onegin who provoked this quarrel - he is more reasonable than Lensky, he knew the character of his friend well and could guess what the final might be). The catalyst was public opinion in the image of Zaretsky - and the way back was gone.

And here is the public opinion!

Spring of honor, our idol!

And this is where the world revolves!

For all his seeming isolation, Onegin is forced to submit to this opinion, and he does it calmly, with slight regret, nothing more. "He could find feelings,< >he had to disarm the young heart.” But Onegin - despising the world, indifferent to it - obeys. Why? Is it a matter of weakness of character or strength of tradition, according to which the duel should be completed on the basis of honor, and not society?

The reason for the duel between Pechorin and Grushnitsky is Grushnitsky's vindictiveness. Having failed, he wants to take revenge, and for this he is ready to go to meanness. But if you figure it out - what is Grushnitsky taking revenge for? Because Pechorin stole Mary's favor from him. Why Pechorin did this, he himself does not know, most likely out of vanity. It turns out that in both cases the cause of the conflict is the inconstancy of the character of the protagonist.

2. Then, in both cases, representatives of the light intervene. But at this stage, one can clearly see the difference: Onegin is simply forced to fight, but the duel will be fair.

The duel of Pechorin and Grushnitsky was planned in advance by the dragoon captain and Grushnitsky. Moreover, it was not originally built according to the laws of honor - Grushnitsky's comrades persuade him not to load the pistol, that is, the conditions are not equal, the opposite side goes to meanness. But, unlike Onegin, Pechorin has an acceptable way to refuse to participate in a duel when he learns about the conspiracy. But - and this is important - Pechorin again decides to play with fate, this time his own.

3. An interesting detail: Onegin sleeps remarkably the night before the duel. Lensky has long been ready to fight, but Onegin has not yet woken up:
But he was wrong: Eugene ...

Slept in a dead sleep at this time.

We read from Lermontov in the description of the night before the duel: “Two in the morning ... can’t sleep ...< >I remember that during the night preceding the fight, I did not sleep for a minute. Pechorin is languishing in the unknown, waiting for death, again trying to evaluate his life.

4. Finally, the duel itself between Onegin and Lensky takes place according to the rules, Lensky is killed. Only now does Onegin realize the full horror of what has happened, only now, when there is no more reason to fear the condemnation of the world, does his heart wake up.

The scene of the duel between Pechorin and Grushnitsky is interesting. Pechorin deliberately complicates the rules of the duel, putting Grushnitsky (who knows that only his pistol is loaded) with a choice: commit murder or refuse to duel. So he sets up one of his psychological experiments, the victims of which have already become Bela and her father, Azamat, Kazbich, Mary and Vera have suffered, the nest of "honest smugglers" has been destroyed.

Pechorin wants to believe in a person - he hopes that Grushnitsky will shoot in the air, and, as soon as he learns about the conspiracy, he thinks: “If Grushnitsky did not agree, I would throw myself on his neck,” but people always follow his scenario, thereby disappointing his. He really appears as an “axe of fate” in the denouement of tragedies, but it seems to me that with all this Lermontov checks not only Pechorin, but also the people around him. And then I agree with Belinsky - Pechorin is much more honest than secular hypocrites who allow any vice while it is hidden.

5. Pechorin as a "secular Demon"

5.1 The character of Pechorin is in the same typological range with other well-known demonic types of creativity. Artistic ways of depicting this image compared to other works by Lermontov

It is no secret that every poet passes all the heroes of works through his soul. He lives by them, breathes them, with the help of them he speaks about the essential, about the unjust! Therefore, many characters have a typological similarity.

Demonism in Lermontov's work is associated with the character's personal reaction to the injustice of the universe. Such a reaction can be called a reaction of rebellion.

In the poem "The Demon", written in 1839, the problem is presented in a general philosophical, generalized way. Here the Demon made an attempt to become a human being (he even sheds an inhuman tear). The Demon's Oath is a brilliant example of male love eloquence - which a man will not promise a woman when the fire of desire burns in his blood! In “impatience of passion”, he does not even notice that he contradicts himself: either he promises to take Tamara to the starry regions and make her the queen of the world, or he assures that it is here, on an insignificant earth, that he will build for her magnificent - from turquoise and amber - palaces . And yet, the outcome of the fatal meeting is not decided by words, but by the first touch - hot male lips - to trembling female lips. Here you can draw a certain parallel between the Demon and Pechorin. They both lost love, both destroyed it, only, in my opinion, the Demon, unlike Pechorin, was closer to the truth, was closer to love. Sometimes it seems to me that the tear that the Demon dropped would not burn even Pechorin's stone heart.

And in the drama "Masquerade", as in "A Hero of Our Time", the problem is presented more specifically. The main characters of the works - Arbenin and Pechorin, can be put in a "separate category of demons" - "demons in everyday life." Both main characters of the works want to find moral support in love. Unfortunately, they don't succeed. They themselves destroy everything, they break everything themselves, they hurt not only themselves, but also make women suffer, whom they seemed to love. Having finished gambling, Arbenin cannot, and perhaps does not want to believe in the sincerity of Nina's love. But still, Arbenin and Pechorin, first of all, are victims of fate. They are trying to change it, but no one knows how much it will change, how it will turn. Fate is fate, but Pechorin is also a victim of the prejudices of society, it is society that pushes him to rash acts, it is in front of society that he wants to show himself from the side that he considers appropriate in situations. Unlike Arbenin, who is simply confused in his feelings, in his faith, as a result, having pulled off his mask, he ends up with nothing... But no matter what, the demonic hero climbs, breaks through obstacles and strives for love, thinking that having committed evil, he will still receive love, but no, he only receives resentment. In both works, there is not a love triangle, but love line:

Nina - Arbenin - Zvezdich ("Masquerade")

Mary - Grushnitsky - Pechorin ("A Hero of Our Time")

Only now, in the case of the drama "Masquerade", this line between Nina and Arbenin, in my opinion, is broken not by Arbenin, who poisoned Nina, but by Zvezdich. With his slander and rash act, he ends two lives at once. And in the novel A Hero of Our Time, Pechorin first makes a broken line out of the two components of the line (Mary - Grushnitsky), entering into it himself, and then breaks it into three parts, killing Grushnitsky physically, and morally Mary. It is important to note that Pechorin, in my opinion, does it all effortlessly, without causing himself a drop of suffering, I do not believe him, I do not believe in the sincerity of his experiences, feelings! Arbenin, in my opinion, only at the end understands what he lost, and he lost not just his wife, he lost, first of all, support, hope, and only then, self-confidence, trust in people. That's what ordinary slander can do.

And already in "The Tale for Children" Lermontov says:

And this wild nonsense

Haunted my mind for many years.

But I, having parted with other dreams,

And he got rid of him - with verses!

Lermontov here already, in my opinion, contradicts himself. The demonic hero wants to restore harmony, so he tries in vain to return to this world. This is what can explain Pechorin's desire for the love of women, the hope that good feelings win in Grushnitsky, so he headlong rushes in pursuit of Vera. And again there is one.

5.2 The role of Grushnitsky and Werner's "twins" in the novel

As mentioned above, everything in the novel is subject to the disclosure of the inner world of the hero. But a special role in the system of images is played by Pechorin's "twins" - Grushnitsky and Werner.

One of them - Grushnitsky - is a parody double. He is also a military man. “He is one of those people who have pompous phrases ready for all occasions, who are simply not touched by the beautiful and who are importantly draped in extraordinary feelings, sublime passions and exceptional suffering. To produce an effect is their delight; romantic provincials like her to madness. He pretends to be romantic just to impress.

Werner is Pechorin's twin in terms of his way of thinking, but, according to Pechorin: "He studied all the living strings of the human heart, as they study the veins of a corpse, but he never knew how to use his knowledge." Werner only observes, he does not act. Interestingly, he refused to share responsibility for the duel with Pechorin.

6. Pechorin and the reflective French heroes Rene, Adolf and Octave

6.1 Common ground and differences

Pechorin's connection with the previous "bored" heroes of French literature is noted by the author of the novel. Subsequently, a detailed comparison of "A Hero of Our Time" by Lermontov with the novels "Rene" by Chateaubriand (1802), "Adolf" (1807) by Benjamin Constant and "Confession of the son of the century" (1836) by Musset was made in the work of S. I. Rodzevich. At the same time, back in 1858, in articles about Lermontov, A. D. Galakhov emphasized “national features” in Pechorin. He rightly argued that "the type of the Hero of our time would not be completely complete and alive if he, entering the circle of the general European mood of the Russian educated society, did not represent any features of the latter." The similarity of Pechorin with his European literary predecessors is explained, according to Galakhov, by “circumstances common to us together with other Europeans”, while the difference is due to the problems of Russian reality of that time.

Later researchers also wrote about the harmonious combination of Western European and Russian literary traditions in Lermontov's work.

A Hero of Our Time echoes the tradition of the French confessional novel. Even the original name - "One of the heroes of the beginning of the century" - makes a kind of reference to the "Confessions of the Hero of the Century" by A. de Musset. Due to disappointment in french revolution, the fall of Napoleon in the world felt the mood of disappointment and longing.

Many researchers reproached Lermontov for Westernism, but Belinsky objected to them, emphasizing the "originality and originality" of the novel. An end to this dispute was put by I. S. Chistova’s study “The Diary of a Guards Officer”, in which she examines in detail the diary of Lieutenant K. P. Kolzakov.

Rene Chateaubriand, like Pechorin, is disappointed in life secular society and flees to America in the hope of finding peace. His confession takes place orally, directed to the listeners. Formally, René travels, moving around the world, but this is not a genre of travel. Rene is on this journey looking for himself. As Volpert L.I. (“Pechorin and his French “brothers””), Rene is “an egocentrist immensely devoted to introspection”, who “gives joy to admit many weaknesses to himself”. He scolds himself, then others. Volpert also notes an almost verbatim coincidence in the text of the works: “I am worthy of your regret ...” (“Rene”, Chateaubriand), “I am also very worthy of regret” (“Hero of Our Time”, Lermontov). The distance between the author and the hero is less in Rene and Adolphe, and more in Musset and Lermontov (for example, the hero of Chateaubriand is endowed with his worldview, while the writer in real life also had a sister. All authors (especially Chateaubriand) admire their heroes.
The next step in the development of the confessional novel belongs to Benjamin Constant. His novel is distinguished by "a refined and deep psychologism" (L. I. Volpert). Appears here for the first time love theme and the motif of a split soul. Sacrificing himself for the sake of his beloved, the hero brings her suffering and death. The attitude of the author to the main character is also changing - he treats him critically, really appreciating his Adolf. The difference between "Adolf" and Lermontov's novel is in dynamics. The descriptions in Adolf are detailed, while Pechorin's swiftness does not accept such slowness. In Konstan's Adolf, the whole work is devoted to the life of the hero's heart, while in Pechorin (and Lermontov) he is interested not only in himself, but also in the people around him (and each of them is a person).

In Musset, the hero turns out to be in love and betrayed, not the heroine. An important place in the novel is given to the feeling of nature. Octave, like Pechorin, subtly feels nature (he is also shown against the background village life, although nature is not able to heal the spiritual wounds of the hero). His introspection is more corrosive, reflecting, he does not spare himself. Musset emphasizes that this is a projection of his relationship with George Sand. Octave also feels the duality of his Self.

But, of course, the main difference between "A Hero of Our Time" is that Lermontov's novel is not a classic "confessional novel." Part of the story in the novel is told in the third person, a complex system of storytellers has been created.

6.2 Episodes from A Hero of Our Time and René

It is interesting to trace the correlation in the novels of Chateaubriand and Lermontov of two categories - reflection and affectation. In this regard, two scenes are noteworthy, which constitute the emotional climax of the plots. Rene receives a letter from Amelie with the news of her imminent tonsure as a nun, Pechorin receives a letter from Vera about an explanation with her husband and departure from Pyatigorsk. The first, headlong, rushes to the monastery, is in time just in time for the tonsure and hears the secret prayer of the sister, addressed to God, to forgive her for her criminal passion for her brother ("passion criminelle"). He is shocked: “... l" affreuse vérité m "éclaire; ma raison s'gare<…>je presse ma soeure dans mes bras<…>Ce mouvement, ce cri, ces larmes, troublent la cérémonie<…>on m "en porte sans connaissance" ("A terrible truth was revealed to me, my mind was clouded<…>I squeezed my sister in my arms<…>This movement, this exclamation, these tears broke the rite<…>I was carried away unconscious").

Pechorin's reaction is given in the same vein: “The thought of not finding her (Vera. - L.V.) already in Pyatigorsk hit my heart with a hammer!<…>I prayed, cursed, wept, laughed... no, nothing can express my anxiety, despair! With the opportunity to lose her forever, Vera became dearer to me than anything in the world - dearer than life, honor, happiness!

At this moment, he is not able to reflect, moreover, he ceases to understand himself: “God knows what strange, what crazy ideas were swarming in my head ...”. When it turns out that all efforts to get to Pyatigorsk are hopeless (“the horse collapsed and died”), Pechorin sobs like a child. At this moment, he is not much different from Rene: “And for a long time I lay motionless and wept bitterly, not trying to hold back tears and sobs; I thought my chest would burst. However - a paradoxical dialectic - as soon as hope began to fade away, impulses of habitual self-observation arose again: "all my firmness, all my composure - disappeared like smoke." The ability to reflect also returns to Rene, his reflection takes the form of self-aggrandizement: he revels in his exclusivity. Rene believes that he discovered a certain universal law of the psyche: “Je trouvai mkme une sorte de satification inattendue dans la plénitude de mon chagrin et j"appercus, avec un secret mouvement de joie, que la douleur n"est pas une affection qu"on йpuise comme le plaisir" ("I even found some unexpected satisfaction in the fullness of my grief and noticed with secret joy that, unlike pleasure, suffering is inexhaustible").

Pechorin also sums up stress, but this is not pretentious pathos, but a purely prosaic remark - a true pearl of ironic reflection. It is based on Pechorin’s favorite idea about the organic connection between the psyche and physiology: “However, maybe this is caused by upset nerves, a night spent without sleep, two minutes against the muzzle of a gun and an empty stomach ... However, I am pleased that I can cry ! Aestheticization in a playful enumeration of different circumstances and in the final pointe. The self-report is colored with a barely perceptible irony (Pichorin dialectics). Rene, like his French "brothers" (Oberman, Adolf, Octave), is categorically incapable of auto-irony (Rene's dialectic). Note - not only them, but, surprisingly, also Childe Harold (he is able to sneer at England, Englishmen, Englishwomen, but not at himself).

Aestheticization of self-knowledge includes Pechorin's self-esteem: “There are two people in me: one lives<…>acts, the other “Here, the usual affectation of heartlessness for the ironic hero, disguise and destruction of one’s own feelings are, as it were, superimposed on the psycho-physiological analysis of the change mental states"(Ginzburg L. creative way Lermontov).

Conclusion

Thus, Lermontov's novel "Heroes of Our Time" is an epigram novel, full of aphorisms, aptly revealed in the speech of the characters. The author shows a variety of personalities, endowed with different features, philosophically approaches the discussion of the eternal problems of life. The inner world of man is the main theme of the writer's study.

For Lermontov's concept of personality, as well as for understanding the artistic novelty of the image of Pechorin and the universal value of the novel as a whole, the orientation towards the identification of the generic principle in man is essentially expressed in it. Russian philosophical and literary-aesthetic thought in many ways approached such an understanding of the problem. With the development of literature, the ratio in man of species and generic, concrete historical and universal principles is becoming more and more definite as its main subject. Lermontov was guided, of course, not only by philosophical concepts, but by intuition brilliant artist, through the "cold bark" of the class-species specificity of his heroes, who saw through their "real human nature". The universal, social and generic aspects of Pechorin come into conflict with their specific social and specific embodiment.

There is a disintegration of personality into "internal" and "external" person. It is no coincidence that in the very first review of A Hero of Our Time, Belinsky noted: “In the main idea of ​​​​Lermontov’s novel lies the important question of inner man, a question to which everyone will respond. At the same time, the contradiction between the generic essence of the hero and his existence gives rise to a discord "between the depth of nature and the pity of the actions of one and the same person." As a person, Pechorin is wider than the limited limits of his time and environment. However, the desire for a free choice of one's life positions in feudal Russia was faced with the predetermination of a person's social status.

Constantly educating and training the will, Pechorin uses it not only to subjugate people to his power, but also to penetrate the secret springs of their behavior. Behind the role, behind the familiar mask, he wants to consider the face of a person, his essence.

Bibliography

1. Lermontov Encyclopedia. M., 1980 (dictionary entry about the novel) Ginzburg L.Ya. pre-war works. SPb., 2007. S.559 - 589.

2. Belinsky V.G. "Hero of our time". A novel by M. Lermontov (according to any edition of Belinsky's articles).

3. Ginzburg L.Ya. pre-war works. SPb., 2007. S.559 - 589.

4. Volpert L.I. Pechorin and his French "brothers" // Volpert L.I. Lermontov and literature of France. MPb., 2008 [This is one of the key monographs on the theme of the colloquium!]

5. Vostrikov A. The theme of "exceptional duel" by Bestuzhev-Marlinsky, Pushkin and Lermontov // Russian Literature. 1993. No. 3. S.66-72. Or: He is. A book about the Russian duel. SPb., 1998.

6. Serman I. Mikhail Lermontov. Life in Literature: 1836 - 1841. M., 2003. S. Culturology. Ed. G.V.Dracha. - Rostov-on-Don, 2000. - 287 p.229 - 256.

7. Chistova I. S. Diary of a guards officer.

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And boring and sad, and there is no one to give a hand

In a moment of heartbreak...

Wish! What is the use of wanting in vain and forever? ..

And the years pass - all the best years!

M.Yu. Lermontov

In the novel “A Hero of Our Time”, Lermontov poses a question that excites everyone: why do the most worthy, intelligent and energetic people of his time not find use for their remarkable abilities and wither at the very beginning of their life impulse without a fight? The writer answers this question with the life story of the main character Pechorin. Lermontov masterfully draws the image of a young man who belongs to the generation of the 30s of the XIX century and in which the vices of this generation are summarized.

The era of reaction in Russia left its mark on the behavior of people. tragic fate hero is the tragedy of an entire generation, a generation of unrealized opportunities. The young nobleman had to either lead the life of a secular idler, or be bored and wait for death. The character of Pechorin is revealed in relationships with various people: mountaineers, smugglers, Maksim Maksimych, “water society”.

In clashes with the highlanders, the “strangeness” of the character of the protagonist is revealed. Pechorin has much in common with the people of the Caucasus. Like the highlanders, he is determined and brave. His strong will knows no barriers. The goal set by him is achieved by any means, by all means. “Such was the man, God knows him!” - Maxim Maksimych says about him. But Pechorin's goals are small in themselves, often meaningless, always selfish. On Wednesday ordinary people living according to the customs of their ancestors, he brings evil: pushes Kazbich and Azamat onto the path of crimes, mercilessly destroys the mountain girl Bela only because she had the misfortune to please him.

In the story "Bela" the character of Pechorin still remains a mystery. True, Lermontov slightly reveals the secret of his behavior. Pechorin admits to Maxim Maksimych that his "soul is corrupted by light." We begin to guess that Pechorin's egoism is the result of the influence of secular society, to which he belongs from birth.

In the story "Taman" Pechorin again interferes in the lives of strangers. The mysterious behavior of the smugglers promised an exciting adventure. And Pechorin embarked on a dangerous adventure with the sole purpose of "getting the key to this riddle." The dormant forces woke up, the will, composure, courage and determination were manifested. But when the secret was revealed, the aimlessness of Pechorin's decisive actions was revealed.

And boredom again complete indifference to the people around. “Yes, and I care about human joys and misfortunes, me, a wandering officer, and even with a traveler for official needs!” Pechorin thinks with bitter irony.

The inconsistency and duality of Pechorin stand out even more clearly in comparison with Maxim Maksimych. The staff captain lives for others, Pechorin - only for himself. One instinctively reaches out to people, the other is closed in himself, indifferent to the fate of others. And it is not surprising that their friendship ends dramatically. Pechorin's cruelty towards the old man is an external manifestation of his character, and under this external lies a bitter doom to loneliness.

The social and psychological motivation of Pechorin's actions is clearly seen in the story "Princess Mary". Here we see Pechorin in the circle of officers and nobles. “Water society” is the social environment to which the hero belongs.

Pechorin is bored in the company of petty envious people, insignificant intriguers, devoid of noble aspirations and elementary decency. An aversion to these people, among whom he is forced to stay, is ripening in his soul.

Lermontov shows how a person's character is influenced by social conditions, the environment in which he lives. Pechorin was not born a "moral cripple." Nature gave him a deep, sharp mind, a kind, sympathetic heart, and a strong will. However, in all life's encounters, good, noble impulses eventually give way to cruelty. Pechorin learned to be guided only by personal desires and aspirations.

Who is to blame for the fact that the wonderful makings of Pechorin died? Why did he become a "moral cripple"? The society is to blame, the social conditions in which the young man was brought up and lived are to blame. “My colorless youth flowed in the struggle with myself and the world,” he admits, “my best qualities, fearing ridicule, I kept in the depths of my heart; they died there.”

But Pechorin is an outstanding personality. This person rises above others. “Yes, in this man there is fortitude and power of will, which you do not have,” Belinsky wrote, referring to critics of Lermontov’s Pechorin. Something magnificent flashes in his very vices, like lightning in black clouds, and he is beautiful, full of poetry even in those moments when human feeling rises up against him: he has a different purpose, a different path than you. His passions are storms that purify the realm of the spirit…”

Creating the “Hero of Our Time”, unlike his previous works, Lermontov no longer imagined life, but painted it as it really was. Before us is a realistic novel. The writer found new artistic means of depicting persons and events. Lermontov demonstrates the ability to build the action in such a way that one character is revealed through the perception of another.

So, the author of travel notes, in which we guess the features of Lermontov himself, tells us the story of Bela from the words of Maxim Maksimych, and he, in turn, conveys Pechorin's monologues. And in “Pechorin’s journal” we see the hero in a new light - the way he was alone with himself, the way he could appear in his diary, but would never open up in public.

Only once do we see Pechorin, as the author sees him. The ingenious pages of "Maxim Maksimych" leave a deep imprint in the heart of the reader. This story evokes deep sympathy for the deceived staff captain and at the same time indignation against the brilliant Pechorin.

The protagonist's disease of duality makes one think about the nature of the time in which he lives and which feeds him. Pechorin himself admits that two people live in his soul: one does things, and the other judges him. The tragedy of the suffering egoist is that his mind and his strength do not find a worthy application. Pechorin's indifference to everything and everyone is not so much his fault as a heavy cross. “The tragedy of Pechorin,” wrote Belinsky. - first of all, in the contradiction between the loftiness of nature and the pitifulness of actions.

One cannot fail to say that the novel "A Hero of Our Time" has the properties of high poetry. Accuracy, capacity, brilliance of descriptions, comparisons, metaphors distinguish this work. The writer's style is distinguished by brevity and sharpness of aphorisms. This style is brought to a high degree of perfection in the novel.

The descriptions of nature in the novel are unusually plastic. Depicting Pyatigorsk at night, Lermontov first describes what he notices in the darkness with his eyes, and then he hears with his ear: “The city was sleeping, only lights flickered in some windows. On three sides blackened the ridges of the cliffs, the branches of Mashuk, on the top of which lay an ominous cloud; the moon rose in the east; in the distance the snow-capped mountains glittered like a silver fringe. The calls of sentries were interspersed with the noise of hot springs lowered for the night. Sometimes the sonorous stomp of a horse was heard along the street, accompanied by the creak of a Nagai cart and a mournful Tatar refrain.

Lermontov, having written the novel "A Hero of Our Time", entered the world literature like a master realistic prose. The young genius revealed the complex nature of his contemporary. He created a truthful, typical image, which reflected the essential features of a whole generation. “Watch what the heroes of our time are like!” - tells everyone the contents of the book.

The novel "A Hero of Our Time" became a mirror of the life of Russia in the 30s, the first Russian socio-psychological novel.

• In any high-quality work, the fate of the heroes is associated with the image of their generation. How else? After all, people reflect the nature of their time, they are its "product". We clearly see this in the novel by M.Yu. Lermontov "A Hero of Our Time". The writer, using the example of the life of a typical person of this era, shows the image of a whole generation. Of course, Pechorin is a representative of his time, the tragedy of this generation was reflected in his fate. M.Yu. Lermontov was the first to create in Russian literature the image of the "lost" […]
• "Besides, what do I care about the joys and misfortunes of men?" M.Yu. Lermontov In Lermontov's novel "A Hero of Our Time" a topical problem is solved: why do people, smart and energetic, not find application for their remarkable abilities and wither without a struggle at the very beginning of their career? Lermontov answers this question with the life story of Pechorin, a young man belonging to the generation of the 1930s. […]
• Lermontov's novel "A Hero of Our Time" became the first socio-psychological and realistic novel in Russian literature in the first half of the 19th century. The author defined the purpose of his work as "the study of the human soul." The structure of the novel is peculiar. This is a cycle of stories combined into a novel, with a common protagonist, and sometimes a narrator. Lermontov wrote and published stories separately. Each of them can exist as an independent work, has a complete plot, a system of images. At first […]
• My life, where are you going and where? Why is my path so obscure and mysterious to me? Why do I not know the purpose of labor? Why am I not the master of my desires? Pesso The theme of fate, predestination and freedom of human will is one of the most important aspects central problem personality in the "Hero of Our Time". It is set most directly in The Fatalist, which does not accidentally end the novel, serving as a kind of result of the moral and philosophical quest of the hero, and with him the author. Unlike romantics […]
• Arise, prophet, and see, and listen Be filled with my will, And, bypassing the seas and lands, With the verb, burn the hearts of people. AS Pushkin "The Prophet" Beginning in 1836, the theme of poetry received a new sound in Lermontov's work. He creates a whole cycle of poems in which he expresses his poetic creed, his detailed ideological and artistic program. These are "Dagger" (1838), "Poet" (1838), "Do not trust yourself" (1839), "Journalist, Reader and Writer" (1840) and, finally, "Prophet" - one of the latest and […]
• One of last poems Lermontov, the lyrical result of numerous searches, themes and motives. Belinsky considered this poem to be one of the most chosen things in which "everything is Lermontov's." Not being symbolic, capturing the mood and feeling in their “lyrical present” with instant immediacy, it nevertheless consists entirely of emblematic words highly significant in Lermontov’s world, each of which has a long and changeable poetic history. In the sing-along - the theme of a lonely fate. "Silicious […]
• Properly embellished prophet I boldly betray shame - I am relentless and cruel. M. Yu. Lermontov Grushnitsky - a representative of a whole category of people - in the words of Belinsky - a common noun. He is one of those who, according to Lermontov, wear a fashionable mask of disillusioned people. Pechorin gives a good description of Grushnitsky. He is, according to him, a poser posing as romantic hero. “His goal is to become the hero of a novel,” he says, “in pompous phrases, draping importantly in extraordinary […]
• Sadly, I look at our generation! His future is either empty or dark, Meanwhile, under the burden of knowledge or doubt, It will grow old in inaction. M. Yu. Lermontov V. G. Belinsky wrote: “It is obvious that Lermontov is a poet of a completely different era and that his poetry is a completely new link in the chain of the historical development of our society.” It seems to me that the main theme in Lermontov's work was the theme of loneliness. She went through all his work and sounds in almost all of his works. Novel […]
• Lermontov's novel is, as it were, woven from opposites, which merge into a single harmonious whole. It is classically simple, accessible to everyone, even the most inexperienced reader, at the same time it is unusually complex and ambiguous, and at the same time deep and incomprehensibly mysterious. At the same time, the novel has the properties of high poetry: its accuracy, capacity, brilliance of descriptions, comparisons, metaphors; phrases, brought to the brevity and sharpness of aphorisms - what was previously called the "syllable" of the writer and constitutes the unique features […]
• "Taman" is a kind of culmination in the collision of two elements of the novel: realism and romanticism. Here you don’t know what to be more surprised at: the extraordinary charm and charm of the subtle all-penetrating color that lies on the images and paintings of the novel, or the extremely convincing realism and impeccable life-like plausibility. A. A. Titov sees, for example, the whole meaning of "Taman" with its poetry in the deliberate reduction and debunking of the image of Pechorin. Convinced that this was the author's intention, he writes […]
• Pechorin Grushnitsky Origin An aristocrat by birth, Pechorin remains an aristocrat throughout the novel. Grushnitsky from a simple family. An ordinary cadet, he is very ambitious, and by hook or by crook he strives to break into people. Appearance More than once Lermontov focuses on the external manifestations of Pechorin's aristocracy, such as pallor, a small brush, "dazzlingly clean underwear." At the same time, Pechorin is not obsessed with his own appearance, it is enough for him to look […]
• Actually, I'm not a big fan of Mikhail Yuryevich Lermontov's novel "A Hero of Our Time", the only part that I like is "Bela". The action in it takes place in the Caucasus. Staff Captain Maxim Maksimych, a veteran of the Caucasian War, tells his fellow traveler an incident that happened to him in these places several years ago. Already from the first lines, the reader is immersed in the romantic atmosphere of the mountainous region, gets acquainted with the mountain peoples, their way of life and customs. This is how Lermontov describes the mountain nature: "Glorious […]
• The novel by M. Yu. Lermontov was created in the era of government reaction, which brought to life a whole gallery of “superfluous people”. Grigory Alexandrovich Pechorin, whom Russian society met in 1839-1840, belonged to this type. This is a man who did not even know why he lived and for what purpose he was born. "The Fatalist" is one of the most plot-intensive and at the same time ideologically rich chapters of the novel. It consists of three episodes, peculiar experiments that either confirm or deny […]
• “How often surrounded by a motley crowd ...” is one of the most significant poems by Lermontov, in its accusatory pathos close to “The Death of a Poet”. The creative history of the poem has been the subject of unceasing disputes by researchers until now. The poem has the epigraph "January 1st", indicating its connection with the New Year's ball. According to the traditional version of P. Viskovaty, it was a masquerade in the Nobility Assembly, where Lermontov, violating etiquette, insulted two sisters. Pay attention to the behavior of Lermontov in this […]
• So, "A Hero of Our Time" is a psychological novel, that is, a new word in Russian literature of the nineteenth century. This is a really special work for its time - it has a truly interesting structure: a Caucasian short story, travel notes, a diary .... But still, the main goal of the work is to reveal the image of an unusual, at first glance, strange man - Grigory Pechorin. This is indeed an extraordinary, special person. And the reader traces this throughout the novel. Who is this […]
• Curiosity, fearlessness, an unjustified craving for adventure are the characteristics of the protagonist of the novel. Throughout the book, the author shows it to us from many different angles. First, this is the view of Maxim Maksimych, and then the notes of Pechorin himself. I cannot call the “fate” of the hero tragic, since neither the death of Bela, nor Grushnitsky, nor the sadness of Maxim Maksimych make his life more tragic. Perhaps even your own death is not much worse than all of the above. The hero is very detached from people, plays […]
• Grigory Pechorin Maxim Maksimych Age Young, at the time of his arrival in the Caucasus he was about 25 years old Almost retired Military rank Officer of the Russian Imperial Army. Staff Captain Character traits Everything new quickly gets boring. Suffering from boredom. In general, a tired, jaded young man, looking for distractions in the war, but in just a month he gets used to the whistle of bullets and the roar of explosions, starts to get bored again. I am sure that brings only misfortune to those around him, which strengthens his […]
• Youth and the time of the formation of Lermontov's personality fell on the years of government reaction after the defeat of the Decembrist uprising. A heavy atmosphere of denunciations, total surveillance, exiles to Siberia on charges of unreliability reigned in Russia. The progressive people of that time could not freely express their thoughts on political issues. Lermontov was acutely worried about the lack of freedom, the state of stopped time. the main tragedy era he reflected in his novel, which he pointedly called "The Hero of our […]
• The life story of Pechorin is told to the reader by Maxim Maksimych. The psychological portrait sketched by the traveler adds several characteristic touches to the story of Pechorin's life. The memory of Maxim Maksimych captured individual confessions of the hero, thanks to which the biography of the “hero of time” acquired extraordinary persuasiveness. Pechorin belonged to the highest Petersburg society. His youth was spent in the pleasures that can be obtained for money, and they soon became disgusting to him. Savor with her seductions too […]
• And tell me, what is the mystery of the alternation of periods of history? In one and the same people, in some ten years, all social energy subsides, the impulses of valor, changing sign, become impulses of cowardice. A. Solzhenitsyn This is a poem by the mature Lermontov, exposing the social and spiritual crisis after the December generation. It closes the previous moral, social and philosophical searches of the poet, sums up the past spiritual experience, reflecting the aimlessness of personal and social efforts […]

In the novel A Hero of Our Time, Lermontov developed the realistic trend that was laid down in Russian literature by Pushkin's work and provided an example of a realistic psychological novel. Having deeply and comprehensively revealed the inner world of his characters, the writer told “the story of the human soul”. At the same time, the characters of the characters are determined by the time and conditions of existence, many actions depend on the mores of a certain social environment (“a simple person” Maxim Maksimych, “honest smugglers”, “children of the mountains”, “water

society"). Lermontov created a socio-psychological novel in which the fate of an individual depends both on social relations and on the person himself.

For the first time in Russian literature, the heroes subjected themselves, their relationships with others to merciless analysis, their actions to self-assessment. Lermontov dialectically approaches the characters' characters, showing their psychological complexity, their ambiguity, penetrating into such depths of the inner world that were inaccessible to previous literature. “There are two people in me: one lives in the full sense of the word, the other thinks and judges him,” says Pechorin. In his heroes, Lermontov seeks to capture not the static, but to capture the dynamics of transitional states, the inconsistency and multidirectionality of thoughts, feelings and actions. A person appears in the novel in all the complexity of his psychological appearance. Most of all, this applies, of course, to the image of Pechorin.

To create a psychological portrait of the hero, Lermontov resorts to cross-characterization of him by other characters. Any one event is told from different points of view, which makes it possible to more fully understand and more clearly depict Pechorin's behavior. The image of the hero is built on the principle of gradual “recognition”, when the hero is given either in the perception of Maxim Maksimych (through the people’s consciousness), then the “publisher” (close to the author’s position), then through the diary of Pechorin himself (confession, introspection).

The composition of the novel also serves to deep understanding of the psychology of the hero. “A Hero of Our Time” consists of five stories: “Bela”, “Maxim Maksimych”, “Taman”, “Princess Mary” and “Fatalist”. These are relatively independent works, united by the image of Pechorin. Lermontov violates the chronological sequence of events. Chronologically, the stories should have been arranged as follows: "Taman", "Princess Mary", "Fatalist", "Bela", "Maxim Maksimych", a preface to Pechorin's journal. The displacement of events is due to the artistic logic of the disclosure of character. At the beginning of the novel, Lermontov shows the contradictory actions of Pechorin, which are difficult to explain to others (“Bela”, “Maxim Maksimych”), then the diary clarifies the motives of the hero’s actions, his characterization deepens. In addition, stories are grouped according to the principle of antithesis; the reflective egoist Pechorin (“Bela”) is opposed to the integrity of the sincerely kind Maksim Maksimych (“Maxim Maksimych”); “Honest smugglers” with their freedom of feelings, actions (“Taman”) is opposed to the conventionality of the “water society” with its intrigues, envy (“Princess Mary”). The first four stories show the impact that the environment has on the formation of personality. The Fatalist poses the problem of man's opposition to fate, that is, his ability to resist or even fight against the predestination of fate.

In “A Hero of Our Time”, Lermontov, in the image of Pechorin, continued the theme of “superfluous people” begun by Pushkin. Pechorin is a typical representative of the noble youth of the 1830s. Lermontov writes about this in the preface to the 2nd edition of the novel: “This is a portrait made up of the vices of our entire generation, in their full development.”

The hero of the 1830s - the time of reaction after the defeat of the Decembrists - is a man disappointed in life, living without faith, without ideals, without attachments. He has no purpose. The only thing he values ​​is his own freedom. “I am ready for all sacrifices… but I will not sell my freedom.”

Pechorin rises above his environment by strength of character, understanding of the vices and shortcomings of society. He is disgusted with falsehood and hypocrisy, the spiritual emptiness of the environment in which he was forced to rotate and which morally crippled the hero.

Pechorin is by nature not devoid of kindness and sympathy; he is brave and capable of self-sacrifice. His gifted nature was born to vigorous activity. But he is the flesh of the flesh of his generation, his time - in the conditions of despotism, in the "deaf years" his impulses could not be realized. This devastated his soul, made a skeptic and a pessimist out of a romantic. He is convinced only that “life is boring and disgusting”, and birth is a misfortune. His contempt and hatred for the upper world develop into contempt for everything around him. He turns into a cold egoist, bringing pain and suffering even to nice and kind people. Everyone who encounters Pechorin becomes unhappy: out of an empty whim, he pulled Bela out of his usual life and ruined her; in order to satisfy his curiosity, for the sake of a slightly invigorating adventure, he plundered a nest of smugglers; without thinking about the injury that Maxim Maksimych inflicts, Pechorin breaks off his friendship with him; he brought suffering to Mary, offending her feelings and dignity, disturbed the peace of Vera, the only person who managed to understand him. He realizes that he "unwittingly played the pitiful role of an executioner or a traitor."

Pechorin explains why he became like this: “My colorless youth flowed in the struggle with myself and the light, ... my best feelings, fearing ridicule, I buried in the depths of my heart: they died there.” He was a victim of both the social environment and his own inability to resist its hypocritical morality. But, unlike others, Pechorin is fundamentally honest in self-assessments. No one can judge him more severely than himself. The tragedy of the hero is that he “did not guess this appointment, ... was carried away by the lures of empty and ungrateful passions; … has lost forever the ardor of noble aspirations, the best color of life.”

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