The structure of the work is a hero of our time. "Hero of Our Time" as a religious-philosophical novel. Main actors

1. Chronological sequence of events.

2. Mixing genres.

3. The meaning of the violation of chronology in the novel.

Accept the collection of colorful heads,

Half funny, half sad

vulgar, ideal,

The careless fruit of my amusements,

Insomnia, light inspirations,

Immature and withered years

Crazy cold observations

And hearts of sad notes.

A. S. Pushkin

The novel by M. Yu. Lermontov "A Hero of Our Time" consists of five stories-chapters. These chapters, in turn, are combined into two parts in accordance with the person on whose behalf the story is being told. In the first part, the narration is conducted on behalf of the author and Maxim Maksimych. The second part is the diary of Pechorin himself, that is, a first-person story. The arrangement of chapters in the novel does not coincide with the chronological sequence of events in the life of the hero. It is obvious that events unfolded in this way. On the way to his destination in the Caucasus, Pechorin passed through Taman (chapter "Taman"). Some time later, after participating in a military expedition, Pechorin goes to Pyatigorsk and Kislovodsk, where his duel with Grushnitsky (chapter "Princess Mary") takes place. Later, by order of the authorities, Pechorin arrives in the fortress beyond the Terek under the command of Maxim Maksimych (the head of "Bel"). Apparently, Pechorin was sent to the "line" for a duel. The bet with Vulich (the head of the Fatalist) takes place in the Cossack village, where Pechorin stayed for two weeks, having left the fortress. Five years later, Pechorin, retired and now idly traveling the world, travels to Persia and meets with Maxim Maksimych (the head of "Maxim Maksimych") in Vladikavkaz. Here the author of the novel had the opportunity to personally see the hero of his work. Returning from Persia to Russia, Pechorin dies (Preface to Pechorin's Journal).

It should also be noted that Lermontov's novel is a complex fusion of elements from various genres. In "A Hero of Our Time" one can find the features of a novel-description of morals, an adventure novel, a confessional novel, as well as features of a travel essay, a bivouac story, a secular story and a Caucasian short story. But back to the composition of the novel. Why did the author need such a bizarre game with time, when the events in the narrative do not follow each other as they happened in real life? Time and its perception by the characters of the work in most cases are significant categories for understanding the author's intention, the characters of the characters and the characteristics of their life path. Roman Lermontov is no exception. On the one hand, a number of typical features of the generation were embodied in the image of Pechorin. Many of the situations described in the novel are also characteristic of a certain time, in particular the war in the Caucasus. But on the other hand, many of Pechorin's deepest experiences do not depend on the time in which this person lives. Boredom and thirst for activity, the desire to be loved, the thirst for power over others, admiration for the beauty of nature or the creation of a talented writer, impartial introspection - all this is timeless. And Lermontov sought not only to tell about the events that occurred in the life of Pechorin, but also to show the features of his character, the movements of the soul, often invisible to others: “The history of the human soul, even the smallest soul, is almost more curious and not more useful than the history of a whole people ...".

First, Lermontov shows his hero from the side, as we all see the people around us. Maxim Maksimych talked with Pechorin for a long time, knows about many of his oddities, while treating him with friendly affection. But, despite the sincere benevolence towards Pechorin, Maxim Maksimych does not understand him very well. This is not surprising - there is a big difference between them in age and social status, and most importantly, in worldview. The image of Maxim Maksimych is quite typical for his time and environment. This is an honest, executive officer, a warm-hearted, kind person, but the range of his interests is rather limited. In the eyes of Maxim Maksimych, Pechorin, a representative of secular society, adventurous and fickle in his hobbies, is a strange, mysterious person.

The complexity of the composition of the novel manifested itself already in the first chapter of "Bela", which is built on the principle of a story within a story. This chapter-story plays the role of plot start: from it we learn about the main character of the novel. The romantic love story of an officer and the daughter of a Circassian prince also develops here, in which the character of Pechorin is clearly manifested: while there were obstacles in his path, his energy and ingenuity did not know peace, but as soon as Bela fell in love with him, he soon cooled off to her.

Maxim Maksimych tells about the external events of Pechorin's life, which he witnessed; however, the staff captain does not understand the actions of his friend. Numerous questions slipping through the story "Bela" remain unanswered.

The author watched Pechorin for a much shorter time than Maxim Maksimych, did not even communicate with him personally. However, Lermontov's view of his hero is psychologically deeper. The author not only knows a number of details of Pechorin's life. He is better than Maxi - ‘ma Maksimych represents the secular society in which the hero of the novel revolved, therefore it is easier for him to understand the reasons that Pechorin’s character was formed in this way and not otherwise. The story "Maxim Maksimych" not only makes it possible to look at the hero through the eyes of a person who does not know him personally, therefore, free from any likes or dislikes, but also explains how Pechorin's diary came to the author of the novel. In addition, this story clearly demonstrates Pechorin's indifferent attitude towards the people around him, which, however, he himself does not deny in his notes.

The chapter "Taman" is a kind of mini-novel inside a large work, a romantic story about robbers, imbued with the spirit of an ominous and attractive mystery. In this chapter, the driving forces of Pechorin's character are visible - his thirst for activity, determination and courage, which make him interfere in the lives of others simply out of curiosity.

The chapter "Princess Mary" is built on the principle of diary entries - Pechorin indicated the date to which certain events and reflections belonged. In this chapter, a significant place is given to self-analysis of the hero. We do not just become witnesses of events, but we find out what prompted Pechorin to take certain actions, what he thinks on various issues, and even how he evaluates his own personality, his character, his purpose and the real state of things. The motif of Pechorin's influence on others, on their destinies, sounds even stronger. Close interaction with him makes people reveal their true essence, but does not make anyone happier, on the contrary, often becomes a cause of suffering.

In the chapter "The Fatalist" the problem of fate is raised: is there a predestination, can a person choose his own fate? Man's opposition to fate, the motif of playing with fate, with death, have repeatedly sounded in literature. The theme of fate is certainly not accidental in Lermontov's novel. Pechorin believes that he had a high purpose, but what is it? He has not been able to find an answer to this question. At the end of the Fatalist chapter, Pechorin returns to the fortress and tries to discuss the problem of predestination with Maxim Maksimych, but he does not even understand the essence of the issue. The story closes in a circle. The fortress, where Pechorin returns, also appeared in the story "Bela", with which the novel begins. The ring composition of the novel reflects vicious circle search for the meaning of Pechorin's life.

At the same time, such a composition, as it were, makes the hero immortal - the message about his death was lost somewhere in the middle of the novel, but after the long adventures described in Pechorin's diary, the idea that this person has already died is relegated to the background. .

Features of the compositional structure of the novel by M. Yu. Lermontov "A Hero of Our Time". The novel by M. Yu. Lermontov "A Hero of Our Time" consists of five stories-chapters. These chapters, in turn, are combined into two parts in accordance with the heme on whose behalf the story is being told. In the first part, the narration is conducted on behalf of the author and Maxim Maksimych.

The second part is the diary of Pechorin himself, that is, a first-person story. The arrangement of chapters in the novel does not coincide with the chronological sequence of events in the life of the hero. It is obvious that events unfolded in this way. On the way to his destination in the Caucasus, Pechorin passed through Taman (chapter "Taman"), Some time later, after participating in a military expedition, Pechorin goes to Pyatigorsk and Kislovodsk, where his duel with Grushnitsky takes place (chapter "Princess Mary"), In further, by order of the authorities, Pechorin arrives in the fortress beyond the Terek under the command of Maxim Maksimych (the head of "Bel"). Apparently, Pechorin was sent to the "line" for a duel. The bet with Vulich (the head of the Fatalist) takes place in the Cossack village, where Pechorin stayed for two weeks, having left the fortress. After five years, Pechorin, retired and now idly traveling around the world, travels to Persia and meets with Maxim Maksimych in Vladikavkaz (chapter "Maxim Maksimych"). Here the author of the novel had the opportunity to personally see the hero of his work. Returning from Persia to Russia, Pechorin dies (Preface to Pechorin's Journal).

The author watched Pechorin for a much shorter time than Maxim Maksimych, did not even communicate with him personally. However, Lermontov's view of his hero is psychologically deeper. The author not only knows a number of details of Pechorin's life. He better represents the secular society in which the hero of the novel revolved, therefore it is easier for him to understand the reasons that Pechorin's character was formed in this way and not otherwise. The story "Maxim Maksimych" not only makes it possible to look at the hero through the eyes of a person who does not know him personally, therefore, free from any likes or dislikes, but also explains how Pechorin's diary came to the author of the novel. In addition, this story clearly demonstrates Pechorin's indifferent attitude towards the people around him, which, however, he himself does not deny in his notes.

Maksimych, however, he does not even understand the essence of the issue. The story closes in a circle. The fortress, where Pechorin returns, also figured in the story "Bela", with which the novel begins. The circular composition of the novel reflects the vicious circle of searching for the meaning of Pechorin's life.

1. Chronological sequence of events.
2. Mixing genres.
3. The meaning of the violation of chronology in the novel.

Accept the collection of colorful heads,
Half funny, half sad
She is simple relatives, ideal,
The careless fruit of my amusements,
Insomnia, light inspirations,
Immature and withered years
Crazy cold observations
And hearts of sad notes.
A. S. Pushkin

The arrangement of chapters in the novel does not coincide with the chronological sequence of events in the life of the hero. It is obvious that events unfolded in this way. On the way to his destination in the Caucasus, Pechorin passed through Taman (chapter "Taman"). Some time later, after participating in a military expedition, Pechorin goes to Pyatigorsk and Kislovodsk, where his duel with Grushnitsky (the head of "Princess Mary") takes place. Later, by order of the authorities, Pechorin arrives in the fortress beyond the Terek under the command of Maxim Maksimych (the head of "Bel"). Apparently, Pechorin was sent to the "line" for a duel. The bet with Vulich (the head of the Fatalist) takes place in the Cossack village, where Pechorin stayed for two weeks, having left the fortress. Five years later, Pechorin, retired and now idly traveling the world, travels to Persia and meets with Maxim Maksimych (the head of "Maxim Maksimych") in Vladikavkaz. Here the author of the novel had the opportunity to personally see the hero of his work. Returning from Persia to Russia, Pechorin dies (Preface to Pechorin's Journal).

The author watched Pechorin for a much shorter time than Maxim Maksimych, did not even communicate with him personally. However, Lermontov's view of his hero is psychologically deeper. The author not only knows a number of details of Pechorin's life. He better represents the secular society in which the hero of the novel revolved, therefore it is easier for him to understand the reasons that Pechorin's character was formed in this way and not otherwise. The story "Maxim Maksimych" not only makes it possible to look at the hero through the eyes of a person who does not know him personally, therefore, free from any likes or dislikes, but also explains how Pechorin's diary came to the author of the novel. In addition, this story clearly demonstrates Pechorin's indifferent attitude towards the people around him, which, however, he himself does not deny in his notes.

Maksimych, however, he does not even understand the essence of the issue. The story closes in a circle. The fortress, where Pechorin returns, also appeared in the story "Bela", with which the novel begins. The circular composition of the novel reflects the vicious circle of searching for the meaning of Pechorin's life.

The originality of the novel "A Hero of Our Time" , as you know, consists in the fact that each of its chapters is a story, to some extent independent. In this regard, the researchers drew attention to the fact thatstory cycleswere a common phenomenon in the literature of the first half of the 19th century, and suggested that the composition of the "Hero of Our Time" composition was similar to the composition of narrative cycles. It seems that such a similarity is a purely external phenomenon.Prose cycles 1830-1840s they were united either by the narrator (“Evenings on a Farm near Dikanka” by Gogol), or by the plot situation of a dispute, discussion, discussion of some problems by several characters (“Russian Nights” by V.F. Odoevsky). If we compare Lermontov's novel with these two types of cycles, it turns out that he rather opposes them: the narrators in A Hero of Our Time change, and the dispute is not a dispute between the characters, but the intense reflection of the protagonist, his continuous introspection, a dispute with fate and with yourself. The indissoluble unity of Lermontov's novel was achieved not from the outside, as in the cycles of stories, but from within, determined by the unity of the hero's seeking consciousness. Therefore, from the point of view of composition, "A Hero of Our Time" "can rather be likened not to a cycle of stories, but to a lyrical poetic cycle." In addition, Zhuravleva highlights the verbal-figurative symbolic motifs of each of the stories, thus proving their plot independence and lyricism.
According to this point of view, "Bela", "Maxim Maksimych" and "Princess Mary" are "mountain" stories, "Taman" is "sea", and the main dominant motif of "Fatalist" is the stars.
"Bela" and "Maxim Maksimych" are travel essays officer riding on a mountain road. To a certain extent, the mountains enter the narrative as an object of the image, no less attracting attention than the characters in the story told by the staff captain. “On all sides the mountains are impregnable, reddish rocks, hung with green ivy and topped with clusters of plane trees, yellow cliffs, streaked with gullies, and there, high, high, a golden fringe of snow, and below the Aragva, embracing another nameless river, noisily escaping from a black, full of haze gorge, stretches with a silver thread and sparkles like a snake with its scales.
In "Princess Mary" mountains motif takes on a philosophical dimension. The stage platform on which Pechorin conducts his game is, as it were, closed by a ring of mountains. “The view from three sides is wonderful. To the west, the five-headed Beshtu turns blue, like "the last cloud of a scattered storm"; Mashuk rises to the north, like a shaggy Persian hat, and covers this entire part of the sky,<…>and on the edge of the horizon stretches a silver chain of snowy peaks, starting with Kazbek and ending with the two-headed Elbrus.
In Taman, it acquires special significance symbolism of the ship and the sea, characteristic for romantic poetry. Short, but to the limit saturated seascapes create an atmosphere of spaciousness and anxiety. There is also a direct poetic commentary in the story to the motif of the sea- smuggler's song.
Motive "guiding star" sounded with all its force in the last story - "The Fatalist". "Fatalist" philosophical commentary to the whole novel. Reflections about fate, about predestination, about the will of man and about the laws of life that do not depend on this will - all this finds direct expression here: “The stars shone calmly on a dark blue vault, and I felt funny when I remembered that they were once wise people, who thought that the luminaries of heaven take part in our insignificant disputes for a piece of land or for some fictitious rights.
The naive faith of their ancestors, which gave them strength for an active life, Lermontov's hero contrasts with the wisdom of his contemporaries, which, however, deprived them of energy and will. “And we, their miserable descendants,<…>indifferently passed from doubt to doubt,<…>having neither hope, nor even that indefinite, although true pleasure that the soul meets in any struggle with people or with fate.
Such a view of the novel allows Zhuravleva to draw a certain kind of conclusions, non-traditional at its core: “The verbal and semantic motifs characteristic of Lermontov’s poetry unite the novel not by plot, but by a verbal-figurative connection, as it is combined lyrical cycle" .
The unusual construction of the novel has caused a lot of controversy and speculation. Thus, Focht believes that the life of the hero in the novel is given not only “fragmentally”, but also with a complete violation of the chronological sequence, which “initially gives the impression of something random, but such a construction has in mind a realistic task: to show the aimlessness of the hero, the events of life which are not subject to his direction of will, arise by chance, are not connected with each other.
This assumption is closely connected with the study of Manuilov, who makes a direct indication that Lermontov deliberately breaks this order of parts, "increases plot tension, makes it possible to interest the reader in Pechorin and his fate as much as possible, gradually revealing his character in all the inconsistency and complexity" .
Serious, in our opinion, research in this area was carried out by Eikhenbaum, whose point of view seems to be the most accurate and justified.
"Hero of Our Time" story cycle gathered around one hero. Eichenbaum chronological discontinuity explains "by crossing two chronological movements". In his opinion, one of them goes directly and consistently: from the first meeting with Maxim Maksimych ("Bela") - to the second, in a day; then, after some time, the author, having learned about the death of Pechorin, publishes his notes. This is the chronology of the story itself - a consistent story of the acquaintance of the author (and with him the reader) with his hero. Another thing - chronology of events, i.e. hero's biography: from "Taman" there is a direct movement to "Princess Mary", since Pechorin comes to the waters, obviously, after participating in a military expedition; but between "Princess Mary" and "Fatalist" it is necessary to insert the story of Bela, since Pechorin ends up in the fortress of Maxim Maksimych after a duel with Grushnitsky. The meeting of the author with the hero, described in the story "Maxim Maksimych", takes place five years after the event told in "Bel" ("... this is almost five years old," says the staff captain), and the reader learns about it before reading the "Journal ". Finally, the death of the hero is told earlier than about the story of the undine, with Princess Mary - from the preface to the "Journal". Moreover, this message was made with an addition that was stunning in its unexpectedness: “Recently, I learned that Pechorin, returning from Persia, died. This news made me very happy ... ".
Before us, therefore, "as if double composition, which, on the one hand, creates the impression of the length and complexity of the plot, necessary for the novel, and on the other hand, gradually introduces the reader into the spiritual world of the hero and opens up the possibility for the most natural motivations for the most difficult and acute situations - such as the author's meeting with his own hero or premature (from a plot point of view) reports of his death. This was a new phenomenon, in comparison with Russian prose of the 1930s, and not at all narrowly “formal”, since it was generated by the desire to tell the “history of the human soul”, to pose, as Belinsky said, “an important modern question about the inner man» Double composition of the novel reinforced by the double psychology and stylistic structure of Russian life told in it.
« Compositional-narrative structure of "A Hero of Our Time" largely subordinated to psychologism as a stylistic dominant. The change of narrators aims to psychologism constantly intensified analysis of the inner world become deeper and more comprehensive.
The story of Bela is a complex plot-genre structure, in which an adventurous short story turns out to be included in the “journey”, and vice versa - “journey” is included in the short story as “an element that slows down its presentation, making its construction stepwise” .
It begins with travel notes. Their author is a Russian officer, wandering "from the road for official needs." The central story in the story "Bela" is the story of Maxim Maksimych, included in the notes of a wandering officer. In addition, it is complicated by the fact that Kazbich's story is included in its first part, how he escaped from the Cossacks, in the second - Pechorin's autocharacteristic. This composition of the story corresponds to its stylistic complexity. Each character has his own speech style.
“Having put the story about the history of Pechorin and Bela into the mouth of the old “Caucasian” Maxim Maksimych, Lermontov set off the tragic emptiness of Pechorin and at the same time contrasted him with the integral character of the Russian person.
In the second story, linking "Bela" with "Pechorin's Journal" and entitled "Maxim Maksimych", the old staff captain no longer tells anything. “We were silent. What were we to talk about? He already told me everything that was entertaining about himself ... ".
In the story "Maxim Maksimych" the only time the author of the novel comes face to face with Pechorin. And this meeting allows him to draw the exact psychological picture a man whose fate the reader is already interested in the story "Bela". Thus, "Bela" and "Maxim Maksimych" are a kind of exposition of the life of the protagonist, built on the comments and assumptions of strangers.
"Pechorin's Journal"- these are the notes of the hero, which fell into the hands of a wandering officer. The "Journal" consists of three stories: "Taman", "Princess Mary" and "Fatalist".
"Taman"- the action-packed and at the same time the most lyrical story in the entire book - continues the traditions of robber stories in a new and realistic manner. At the same time, the motif of a mermaid, an undine, common in a romantic ballad, is woven into Taman, but it is translated into a real life plan: an undine turns into a seductive smuggler.
"Princess Mary" written in the form of a diary, where the introspection and self-disclosure of the hero. Pechorin's diary opens with an entry made on May 11, the day after his arrival in Pyatigorsk. Descriptions of subsequent events constitute, as it were, the first, “Pyatigorsk” part of the story. The entry dated June 10 opens the second, "Kislovodsk" part of his diary. In the second part, events develop more rapidly, consistently leading to the culmination of the story and the entire novel - to the duel between Pechorin and Grushnitsky. For the duel, Pechorin gets into the fortress to Maxim Maksimych. This is where the story ends.
Thus, all the events of "Princess Mary" fit into a period of a little more than a month and a half. But the story of these days gives Lermontov the opportunity to reveal the contradictory image of Pechorin from within with exceptional depth and completeness.
The Tale of the Fatalist plays the role of an epilogue, although in the order of events the incident described is by no means the last: the meeting with Maxim Maksimych and the departure for Persia occur much later.
It should be noted that the story "The Fatalist" caused various interpretations among the researchers of the novel. So, Belinsky believed that "The Fatalist" was just an appendix to the novel.
In this regard, Levin made the assumption that “if Lermontov had completed “The Hero of Our Time” “Princess Mary”, then one of the most important lines of the novel would have been torn and unfinished, and in this form it should have turned out completely different, directly opposite to the author’s intentional interpretation. We are talking about the problem of fate, which is solved through Pechorin's attitude towards it. Thus, this once again proves that philosophical thought is inherent in the whole novel as a whole, and not in its separate part.
“The whole chain of stories is built in such a way that the author himself constantly learns about his hero and, publishing his Journal, specifically explains the reasons that prompted “to convey to the public<…>secrets of a man whom he "never knew" and "saw only once<…>on the high road." This is a completely new and, of course, fundamentally considered relationship between the author and the hero, prompted by the decision to abandon not only the author's lyrical confessions, but also the position that was established, for example, in Eugene Onegin. That is why a narrator is introduced, a friend of the hero, but a person who is poorly versed in psychological subtleties.
The image of a wandering officer was introduced in order to “distinctly separate Pechorin from Lermontov. The hero is not a friend or even an acquaintance of the author, he has seen him only once and has neither friendship nor enmity towards him. It is as an outsider, considering him without personal sympathy, that the narrator treats the hero of the work.
The compositional arrangement of the five stories of the novel reveals a deep connection with the ideological concept of the work and the nature of the reflected reality. This is a broken, intermittent line of narration, now running forward, then again returning back, as if intended to reflect a fate full of all sorts of throwing, aimless throws to the side, accidents growing into an event. It seemed that the biography of the hero should fit in it. But this is not even a biography, but only one strip of it, torn from the middle. Before her, there was only a dull mention of Pechorin’s social life in St. Petersburg, and in the draft autograph there was also an indefinite allusion to some kind of “terrible duel story” that took place there, after which Lermontov crossed out. After it - again a strip of uncertainty, ending with the death of the hero. Note that we learn about this fact in the middle of the novel - in the form of a simple biographical note. This decision freed the author from the need to end the novel with the death of the hero. “Thanks to the peculiar double composition and fragmentary structure of the novel, the hero does not die in the artistic (plot) sense: the novel ends with a perspective into the future - the hero’s exit from the tragic state of inactive doom (“I boldly go forward”)” .

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. […]
And it's boring and sad, and there is no one to give a hand to In a moment of spiritual hardship ... Desire! 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 an exciting question to the reader: why the most worthy, intelligent and energetic people of his time do not find application for their remarkable abilities and wither at the very beginning of life's impulse without a struggle? The writer answers this question with the life story of the main character Pechorin. Lermontov […]
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 the freedom of human will is one of the most important aspects of the central problem of personality in A 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 the last poems of 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, he says, a poseur posing as a 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 […]
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 […]
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. Social life, with its temptations, also […]
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 […]
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 […]
“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 […]
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. He reflected the main tragedy of the era in his novel, which he pointedly called “The Hero of our […]
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 […]