Who is included in the water society with examples. Essay by Lermontov M.Yu

On business main character works of Lermontov, Pechorin, found himself in Pyatigorsk, a Caucasian resort town. At the first meeting with the city, Pechorin identified three groups into which the population of the town was divided.
The first group included families of steppe landowners. One could guess this from their appearance and activities.
The second group included local ladies - wives of the authorities. These are typical representatives of the provinces, who in no way want to lag behind the ladies of the capital. They have many admirers, who are replaced by new ones every year.
And the third group with which Pechorin was to spend time was “a special class of people among those who expect the movement of water.” These in Pyatigorsk include men on vacation, military and civilians. These young people are dandies. They spend time walking around the city and in the mansions of Princess Ligovka, who came to mineral springs together with his daughter.
Outwardly, these young dandies - decent people and they look decent. But under the attractive appearance hide intriguers and hypocrites, sycophants and braggarts. These are spiritually impoverished people. They do not know how to see “simply beautiful”; these people are looking for the extraordinary, obeying fashion. They get bored and complain about boredom, they play gambling and attend all the local balls. Their whole life proceeds monotonously, everything repeats itself day after day. This is the way of life of any secular society, be it in St. Petersburg or in another Russian city that time. Pechorin is also one of these people, but he stands above the surrounding noble environment. He is smart, educated person unable to find use for his abilities. He is fed up with all secular customs and strives for a hectic life. But even when he gets to Pyatigorsk, he encounters the same rules here as in the capital. He sees that in the Caucasus life is moving along the same rut. And therefore, disgust brews in him for those people among whom he is forced to be. He angrily ridicules the moral squalor of the “water youth,” although he does not understand why he is seeking this. And in general, Pechorin is a man full of contradictions. His inconsistency is manifested even in his appearance and, even more so, in his character, in his relationships with people. That's why he has many enemies.
I came to the conclusion that Pechorin, like Onegin, lost himself, suffocated in secular philistine society. Just like his “older brother” Onegin, he tried to break out of this vicious circle. Without losing faith in his own abilities, Pechorin tried to find himself in literature, science, in any other work, but gradually he got bored with it, then coolness and indifference to life set in. Many smart people At that time, for the same reason, they could not apply their knowledge to the benefit of people.
Comparing Pechorin with the heroes of the works of writers of that century: Pushkin, Griboedov, Gogol, Tolstoy, I was convinced that almost all the leading writers of that period were worried about this social theme: a hero of his time and his relationship with society.

"Hero of Our Time" - social psychological novel, in which the author set himself the task of revealing the inner world of the hero, “exploring the human soul.” Lermontov is a romantic, so the problem of personality is central problem romanticism and, naturally, the poet’s creativity. However, the innovation of “A Hero of Our Time” lies in the fact that the conflict between the individual and the surrounding world is resolved using a variety of means, both romantic and realistic.

Pechorin, the main character of the novel, is social type. Traditionally, following Onegin, he is placed in the gallery of “extra people.”

The images of Pechorin and Onegin have a lot in common, from details, character traits, to the situations in which they find themselves. However, the conflict between the individual and society in “A Hero of Our Time” is more acute than in “Eugene Onegin,” since Pechorin “frantically chases after life,” but receives nothing from it, and Onegin simply “goes with the flow.”

The composition of the novel is subordinated to the main task that the author set for himself - solving the problem of personality. In Pechorin’s journal, the central story is “Princess Mary”, in which the character of the hero is revealed from the inside, that is, Lermontov uses such artistic technique like a confession. All artistic media– portrait, landscape, dialogues, details – worn psychological character. In the story, with the help of an expanded figurative system The secret of the hero's character is revealed.

Lermontov, like many romantics, contrasts personality and society, and he places his hero in different environments, pushes him against different people. We can see this in the stories “Bela”, “Taman” and “Princess Mary”.

In the psychological story “Princess Mary,” Pechorin’s personality is contrasted with the “water society”; the hero’s attitude towards this society and society in general is shown. "Water Society" is collective image representatives of local and metropolitan nobility, in whose behavior and life all can be traced character traits the era described. The conflict between the individual and society is embodied not only in revealing the character of the main character, but also in the depiction of the “water society”, their life, interests, and entertainment.

Pechorin notes with slight contempt the carefully hidden envy of each other, the love of gossip and intrigue. The life and customs of visitors to the Caucasian mineral waters, which both the author and the main character are ironic about, are determined by history and traditions. The image of the “water society” is also given in parallel with the image of the secular society, which Pechorin mentions and which has more than once been the object of study in the works of Griboedov and Pushkin.

In general everything " water society"opposed to Pechorin. However, it is still possible to identify heroes who are not only opposed to Pechorin, but also compared with him.

Grushnitsky is a kind of parody of Pechorin. What for Pechorin constitutes the essence of character, for Grushnitsky it is a pose designed to produce an effect, an impression on others. Grushnitsky is an anti-romantic hero. His penchant for romanticization is carried to the point of caricature. He shows off and often behaves inappropriately to the situation. In everyday life he looks for romantic circumstances, but in truly romantic situations he gets lost. Grushnitsky's participation in the duel is ignoble and vile, but he cannot refuse it, since he is very proud. There are many external details in his image (overcoat, crutch, limp, ring with the date he met and the name Mary). Obviously, the image of Grushnitsky was not created without the influence of the image of Lensky: both are romantics, both were killed in a duel, both are younger than their friend-enemy.

Werner is the only one male image, which is compared with Pechorin, and not opposed. Their similarities are manifested in their relationships with society, skepticism, and wit. But along with general features there are many differences in their characters. Pechorin is “madly chasing after life,” while Werner is passive. Werner is a less deep and complex nature than Pechorin. Before the duel, Pechorin admires nature, and Werner asks if he wrote his will. In appearance Werner can be traced romantic traits, but he is a contradictory nature.

All female images presented in the novel are also subordinated to the main task - revealing the image of Pechorin and showing his attitude to love. Of all the female images, Princess Mary is depicted most fully. Like Grushnitsky, she is passionate about romanticism, she is young, smart, witty. The princess's purity and naivety makes Pechorin's selfishness even more obvious. The story of Mary's seduction is the reason for deep introspection and extensive internal monologues in Pechorin's diary. In a conversation with Mary, Pechorin talks about his fate (relationships with society, inclinations, quirks of character).

Faith is the most obscure image, incompletely outlined, and given only by hints. This is the only one female image, which is compared with Pechorin. It is in his relationship with Vera that the tragedy of Pechorin’s situation is most fully felt, his inability to deeply and truly love: he doesn’t even need Vera. This emphasizes the loneliness of the hero, his inability to truly feel, reveals internal conflict hero. Romantic irony illuminates the relationship between Pechorin and Vera: Pechorin drives his horse, trying to catch up with Vera, and then falls asleep to Napoleon at Waterloo.

In addition, Lermontov pays attention a large number others, less noticeable, but also very important for creating more full picture society, heroes, who are all, without exception, subject to the principle of typification, which speaks of the realism of the novel. In this case, the author proceeds from traditional types, relying on the creative experience of his predecessors, Griboyedov and Pushkin.

As soon as Pechorin arrives in Pyatigorsk, he becomes acquainted with the customs of the families of the steppe landowners: “... the St. Petersburg cut of the frock coat misled them, but, soon recognizing the army epaulettes, they turned away indignantly.”

Here we learn about the wives of local bosses, “mistresses of the waters”: “...they pay less attention to the uniform, they are accustomed in the Caucasus to meet an ardent heart under a numbered button and an educated mind under a white cap.”

A special class in the “water society” consists of men, civilians and military (Captain Dragunsky, who with his participation in the duel resembles Zaretsky). The “water youth” stands out separately. In general, it is difficult to imagine anything new that has not yet been depicted in the works of Griboyedov and Pushkin. The same passion for rank, sycophancy, the same balls, gossip, idle pastime, emptiness, which reign not as vices of society, but as elements public life. Everything is the same, only with the difference that we saw there secular society, and here it is provincial, which is trying with all its might to resemble the capital. Against the background of all this, it is impossible not to note with what irony not only specific images are drawn, but also the entire atmosphere.

Thus, the “water society” is not an accidental theme in the novel. The problem of personality, its relationships with others are the main task of all Lermontov’s work. At the same time, he is a continuator of the traditions of Russian literature of the 19th century century.

If in the stories “Bela” and “Taman” Pechorin appeared surrounded by simple and “natural” people, then in the story “Princess Mary” he is shown in his typical noble environment. Image noble society, with whom Pechorin’s origin and class affiliation are related, is of significant importance in the novel. In the vicinity of the “metropolitan dandies”, “Moscow young ladies” and the provincial “nobility”, Pechorin’s originality and exclusivity for his environment in which he is forced to be and act stands out more clearly . The conflict between this society and Pechorin shows its irreconcilability to all established traditions of the “light”. True, the novel depicts not the capital’s society, but a motley “water society” in composition. But Lermontov shows that in essence there is no fundamental difference between them, and the diversity and randomness of the society formed on the waters allow the author to more clearly reveal the complete loneliness of Pechorin, equally a stranger to the noble Moscow lady Ligovskaya, and the poor cadet Grushnitsky, and the dragoon captain.

The “water society” is heterogeneous: here are the Moscow nobility, local privileged circles (“mistresses of the waters”), steppe landowners, and the military - dragoons, army officers. Most of them are nobles mediocre, not distinguished by either wealth or special nobility. Students can easily find evidence of this in the text. The Oki note, for example, the “worn old-fashioned frock coats” of the steppe landowners; draw attention to the fact that the capital's dandies, who preach “contempt for provincial houses” in Pyatigorsk, do not have access to aristocratic living rooms in St. Petersburg. But still their condition is enough that they can do nothing. Their life is spent idle, their circle of activities and interests is narrowly defined: walks, picnics, balls; for men - playing cards and drinking (“they drink, but not water”). You won’t find any serious thoughts or deep inquiries here. One of the main activities and interests of the “water society” is gossip. It is no coincidence that Werner talks about the rumors that spread in the city about Pechorin’s supposed marriage to Princess Mary: “The whole city is talking; all my patients are busy with this important news, huh. These patients are such a people: they know everything!”

Members of the “water society” are small souls with scanty passions, there is no place for nobility and honesty. “Moscow dandies” and “brilliant adjutants” do not even possess simple decency. When the “gentleman in a tailcoat” insulted Mary, the adjutant, familiar with the Litovsky family, “hid behind the crowd so as not to be involved in the story.” Members of this society are characterized by arrogance towards those below them on the social ladder and servility, combined with envy, towards those who are higher than them, more noble and richer. Thus, the families of the steppe landowners “with tender curiosity” looked at Pechorin, deceived by the St. Petersburg cut of his “frock coat”; but, “having recognized the army epaulettes, they turned away indignantly.”

The views of Lermontov and his hero Pechorin on the Pyatigorsk “light” coincide.
Pechorin perfectly understands the vulgarity and narrow interests of the people around him and perceives their life as a false “game”; in his diary, where he writes about the people of this society, the words often appear: “ characters”, “scene”, “commencement”, “denouement”, etc. Students can be asked to find such places in the text.

Pechorin’s negative attitude towards the “water society” even affects the character of the hero’s speech. Students remember how Pechorin admired the courage and beauty of the smugglers when he described his adventure in Taman. And he writes about representatives of the world in deliberately reduced, sometimes even rude, terms. For example, he draws one of the guests at the ball like this: “Suddenly a gentleman in a tailcoat with a long mustache and a red mug stood up.” “Rozha” is an unusual vulgarism for Pechorin, and it is characteristic that it appears precisely where the hero writes about a privileged society. Or Pechorin remarks: “At eleven o’clock in the morning. . . Princess Ligovskaya usually sweats in the Ermolov bath.” The verb “sweats” sounds ironically next to the title “princess”, creating a contrast between words of different stylistic lines.

In the depiction of episodic persons great place takes portrait characteristic. You can read in class a description of a fat lady at a ball in a restaurant: “I stood behind one fat lady, shaded with pink feathers; the splendor of her dress was reminiscent of the times of figs, and the variegation of her unsmooth skin was reminiscent of the happy era of black taffeta flies; the largest wart on her neck was covered with a clasp.” It is interesting to note the combination of the word “overshadowed” with the words “pink feathers.” Combining them in one sentence sets the reader up ironically. Observing how different Pechorin’s manner of describing the appearance of smugglers and representatives of the “water society” is, it is easy to conclude that, being one of the ways of depicting an image, a portrait in a novel helps at the same time to reveal the attitude of the author and his hero towards the characters. Despite the objectivity of the description of the portrait, the reader’s attention is focused on individual details appearance, and their selection by the author allows us to judge his subjective attitude towards this or that hero. One can note the stooped figure of a dragoon captain, the “red mug” of a gentleman in a tailcoat, the “wart covered by a clasp” on a fat lady, etc.

Way of expression author's attitude to the depicted character is also the selection of emotionally charged epithets and verbs that convey the state or characterize the individual qualities of a particular character. Describing a conversation with a dragoon captain shortly before the duel, Pechorin notes: “He turned yellow, turned blue; hidden anger appeared on his face.” The second second Grushnitsky -; Ivan Ignatyich - he notes a “squeaky voice.”

Not limiting himself to sketching the “water society,” Lermontov expands the idea of ​​Pechorin’s typical environment by showing officer society in the story “Fatalist” and individual statements hero and author about the capital's light. The main occupation of the officers of the Cossack village, where he ends up briefly hero, - cards in the evenings and empty talk.

Pechorin and the “water society” in the novel by M.Yu. Lermontov "Hero of Our Time".

Pyatigorsk, Elisavetinsky spring, where the “water society” gathers. Walking along the boulevard, Pechorin meets " for the most part families of steppe landowners,” who followed him with their gaze “with tender curiosity,” but, “recognizing the army epaulettes... turned away indignantly.” Local ladies were more favorable; they were “accustomed in the Caucasus to meeting an ardent heart under a numbered button and an educated mind under a white cap . These ladies are very nice; and sweet for a long time!"

Pechorin overtakes a crowd of men who “form a special class of people among those who are waiting for the movement of water. They drink, but not water, they walk a little, they dangle only in passing; they play and complain of boredom. They are dandies: lowering their braided glass into a well of sour sulfur water, they take academic poses..."

Lermontov described these snobs extremely accurately and sarcasticly. And it is no coincidence that he assembled a real “hospital” on the waters: Mary is being treated for something, Grushnitsky and Werner are lame, the smuggler girl behaves like crazy, the boy is blind, Vera is terminally ill... Among them and Pechorin becomes a “moral cripple”, deprived of ordinary human feelings.

Criticism greeted the new work ambiguously: a heated controversy ensued. Along with the stormy enthusiasm of Belinsky, who called Lermontov’s novel a work of “a completely new world of art,” who saw in it “deep knowledge human heart And modern society“, “richness of content and originality,” the press heard the voices of critics who absolutely did not accept the novel. One of Lermontov’s most ardent opponents, a certain A.S. Burachok, argued that the image of the novel’s protagonist is “aesthetic and psychological absurdity,” and in the work itself there are no traces of "philosophy, Russian folk religiosity". But no matter how we evaluate the novel, one cannot fail to note the skill with which Lermontov wrote his main character. Throughout the entire work, the author strives to reveal the inner world of Grigory Alexandrovich as fully as possible Pechorina The compositional complexity of the novel is inextricably linked with the psychological complexity of the image of the main character, and the panopticon of the “water society” helps to reveal this image more deeply.

The hero's inner world is revealed most fully and deeply in the chapter "Princess Mary". The plot here is Pechorin’s meeting with Grushnitsky, a familiar cadet. And then Pechorin’s next “experiment” begins. The hero’s whole life is a chain of experiments on himself and other people. Its goal is to comprehend the truth, human nature, evil, good, love. This is exactly what happens in the case of Grushnitsky. Why is the young cadet so unpleasant to Pechorin? As we see, Grushnitsky is by no means a villain worth fighting. This is the most ordinary young man, dreaming of love and stars on his uniform. He is mediocre, but he has one weakness that is quite forgivable at his age - “draping himself into extraordinary feelings”, “passion to recite”. He strives to play the role of the Byronic disappointed hero, fashionable among young men, “a creature doomed to some kind of secret suffering.” Of course, the reader understands that this is a parody of Pechorin! That is why Pechorin hates him so much. Grushnitsky, as a narrow-minded person, does not understand Pechorin’s attitude towards him, does not suspect that he has already started a kind of game. At first, Pechorin even evokes a certain condescending feeling in Grushnitsky, since this young man is self-confident and seems to himself to be a very insightful and significant person: “I feel sorry for you, Pechorin,” this is how he speaks at the beginning of the novel. But events develop the way Pechorin wants it; Mary falls in love with him, forgetting about Grushnitsky. Overwhelmed by jealousy, indignation, and then hatred, the cadet suddenly reveals himself to us from a completely different side. He turns out to be not so harmless. He becomes vindictive, and then dishonest. , vile One who recently dressed up as nobility is today capable of shooting at an unarmed person. Pechorin’s experiment was a success." Here with full force the “demonic” property of his nature to “sow evil” manifested itself with greatest art During the duel, Pechorin again tests fate, calmly standing face to face with death. Then he offers reconciliation to Grushnitsky. But the situation is already irreversible, and Grushnitsky dies, having drunk the cup of shame, repentance and hatred to the end.

Pechorin and the “water society” in the novel by M.Yu. Lermontov "Hero of Our Time".

Pyatigorsk, Elisavetinsky spring, where the “water society” gathers. Walking along the boulevard, Pechorin meets “most of the family of steppe landowners,” who followed him with their gazes “with tender curiosity,” but “on recognizing the army epaulettes ... they turned away indignantly.” Local ladies are more favorable, they “are accustomed in the Caucasus to meet an ardent heart under a numbered button and an educated mind under a white cap. These ladies are very nice; and have been nice for a long time!”

Pechorin overtakes a crowd of men who “form a special class of people among those who are waiting for the movement of water. They drink - but not water, they walk a little, they dangle only in passing; they play and complain about boredom. They are dandies: lowering their braided glass into a well of sour sulfur water, they take academic poses..."

Lermontov described these snobs extremely accurately and sarcasticly. And it is no coincidence that he assembled a real “hospital” on the waters: Mary is being treated for something, Grushnitsky and Werner are lame, the smuggler girl behaves like crazy, the boy is blind, Vera is terminally ill... Among With them, Pechorin becomes a “moral cripple”, devoid of ordinary human feelings.

Criticism greeted the new work ambiguously: a heated controversy ensued. Along with the stormy enthusiasm of Belinsky, who called Lermontov’s novel a work of “a completely new world of art”, who saw in it “a deep knowledge of the human heart and modern society”, “richness of content and originality”, the voices of critics were heard in the press who absolutely did not accept the novel. One of Lermontov’s most ardent opponents, a certain A.S. Burachok argued that the image of the main character of the novel is “aesthetic and psychological absurdity,” and in the work itself there are “no traces of philosophy, Russian folk religiosity.” But no matter how we evaluate the novel, one cannot fail to note the skill with which Lermontov wrote his main character. Throughout the entire work, the author strives to reveal the inner world of Grigory Alexandrovich Pechorin as fully as possible. The compositional complexity of the novel is inextricably linked with the psychological complexity of the image of the main character, and the panopticon of the “water society” helps to reveal this image more deeply.

The hero's inner world is revealed most fully and deeply in the chapter "Princess Mary". The plot here is Pechorin’s meeting with Grushnitsky, a familiar cadet. And then Pechorin’s next “experiment” begins. The hero's whole life is a chain of experiments on himself and other people. Its goal is to comprehend the truth, human nature, evil, good, love. This is exactly what happens in the case of Grushnitsky. Why is the young cadet so unpleasant to Pechorin? As we see, Grushnitsky is by no means a villain worth fighting. This is the most ordinary young man, dreaming of love and stars on his uniform. He is mediocre, but he has one weakness that is quite forgivable at his age - “draping himself into extraordinary feelings”, “passion to recite”. He strives to play the role of the Byronic disappointed hero, fashionable among young men, “a creature doomed to some kind of secret suffering.” Of course, the reader understands that this is a parody of Pechorin! That is why Pechorin hates him so much. Grushnitsky, as a narrow-minded person, does not understand Pechorin’s attitude towards him, does not suspect that he has already started a kind of game. At first, Pechorin even evokes a certain condescending feeling in Grushnitsky, since this young man is self-confident and seems to himself to be a very insightful and significant person: “I feel sorry for you, Pechorin,” this is how he speaks at the beginning of the novel. But events develop the way Pechorin wants it; Mary falls in love with him, forgetting about Grushnitsky. Overwhelmed by jealousy, indignation, and then hatred, the cadet suddenly reveals himself to us from a completely different side. He turns out to be not so harmless. He becomes vindictive, and then dishonest. , vile One who recently dressed up as nobility is today capable of shooting at an unarmed person. Pechorin’s experiment was a success.” Here the “demonic” property of his nature to “sow evil” with the greatest skill manifested itself with full force. During the duel, Pechorin again tests fate, calmly standing face facing death Then he offers Grushnitsky reconciliation. But the situation is already irreversible, and Grushnitsky dies, having drunk the cup of shame, repentance and hatred to the end.

Other works on the topic:

In the novel. Hero of our time. Mikhail Yuryevich Lermontov touches on the same problems that are often heard in his lyrics: why smart and energetic people cannot find a place for themselves in life, why they grow old in inaction.

I think that main theme There was a theme of loneliness in Lermontov's work. It went through all of his work and sounds in almost all of his works.

The composition of the novel by M.Yu. Lermontov's “Hero of Our Time” is such that in the first chapter we learn about Pechorin only from the words of Maxim Maksimych, an elderly officer who served for many years in the Caucasus. In the second chapter, which is called “Maksim Maksimych,” we see Pechorin through the eyes of the author, on whose behalf the story is told.

There is every reason to consider the great Russian poet M. Yu. Lermontov as the ancestor of Russian prose. If A. S. Pushkin is generally considered the creator of the first realistic poetic novel about modernity, then, in my opinion, Lermontov is the author of the first socio-psychological novel in prose; Lermontov’s death prevented him from developing this trend.

It is no coincidence that the theme of the conflict between man and society, begun by Byron, was developed in the works of both Pushkin and Lermontov. The fact is that the “English spleen” that Childe Harold was sick with has an analogy - the “Russian blues”. “Russian blues” became so widespread that it truly became the disease of the century, and the greatest Russian writers could not, of course, fail to reflect this phenomenon in their works.

Grigory Aleksandrovich Pechorin is a complex collective image of the society of his time - the thirties of the nineteenth century. Pechorin is lonely and cannot find anything to do or do. He is bored because no secular entertainments occupy him. He does not succumb to the destructive influence of light, but at the same time he imagines himself chosen for some great cause, without wasting money on normal life, love, friendship.

In the novel “Hero of Our Time,” Lermontov set himself the task of comprehensively and multifacetedly revealing the personality of his contemporary, showing a portrait of a “hero of our time,” “composed of our entire generation, in their full development,” as the author said in the preface to the novel. All storylines reduced to central image: Pechorin and Grushnitsky, Pechorin and Werner, Pechorin and Vulich, Pechorin and Maxim Maksimych, Pechorin and the highlanders, Pechorin and the smugglers, Pechorin and the “water society.”

"A Hero of Our Time" is the first Russian psychological novel. Consisting of several different types of stories, it clearly shows the logic of the development of the protagonist’s character. The novel poses important social and philosophical problems inherent in the generation of Lermontov's contemporaries. The author focuses on inner world the main character, Pechorin, who has a highly developed sense of personality.

“Gloomy and lonely, A leaf torn off by a thunderstorm...” These lines are from the poem “Mtsyri”, a poem that organically fits into Lermontov’s work with the motif of tragic loneliness.

In the novel by M.Yu. Lermontov “Hero of Our Time” - Grigori Aleksandrovich Pechorin asks the question: “Is evil really so attractive?” He asks this question to himself, reflecting on himself, his generation, after which he comes to the conclusion that the attraction of evil is the disease of his age. Such a paradoxical conclusion involuntarily provokes reflection: how can evil be attractive? And here one involuntarily recalls the words that “the road to hell is paved with good intentions” or the words of M.M.

Analysis of Pechorin’s phrase “Of two friends, one is always the slave of the other” Author: Lermontov M.Yu. This phrase was said by the main character of the work M.Yu. Lermontov "Hero of Our Time" Pechorin. I believe his statement is incorrect.

Essay-conclusion on topic 8220 The image of Pechorin in the novel by M.Yu. Lermontov 8220 Hero of our time 8221 Epigraph: “I have long lived not with my heart, but with my head... There are two people in me: one lives in in every sense of this word, another thinks and judges it.” (Pechorin, “Hero of Our Time”) Mikhail Yuryevich Lermontov in his works touched upon problems of morality and morality, knowing at the same time that not every reader will understand true essence his presentation.

Pechorin’s attitude to the world and his own personality (based on the novel by M.Yu. Lermontov “Hero of Our Time”) Author: Lermontov M.Yu. In the preface to the novel, Lermontov described the main character as follows: “This is a portrait made up of the vices of our entire generation, in their full development.” The author wanted to show " modern man, as he understands him, and to his and your misfortune, he met him too often.”

Pechorin and the “water society” in the novel by M.Yu. Lermontov "Hero of Our Time". Author: Lermontov M.Yu. Until now, Pechorin’s attempts to get closer to people far from his circle have been traced. The failure of these attempts, as they saw, is explained not by the narrowness of the hero, but by the limitations of those with whom fate brought him together.

Author: Lermontov M.Yu. The plot-compositional originality of Lermontov’s novel “A Hero of Our Time” is determined by the creative task that the author set for himself. The essence of this task is to depict a contemporary - a “hero of his time”, who, according to the author’s plan, is an intelligent, talented, spiritually gifted person, capable of both thinking and feeling, due to his own “immense powers” ​​that have not found use.

The image of Pechorin in the novel by M. Yu. Lermontov “Hero of Our Time” Author: Lermontov M. Yu. M. Yu. Lermontov lived and worked during the period of the most severe reaction that set in in Russia after the defeat of the December uprising.

Author: Lermontov M.Yu. In one thousand eight hundred and thirty-eight, Mikhail Yuryevich Lermontov began work on “A Hero of Our Time,” relying on his Caucasian impressions. During the process of creation, the works “Bela” and “Taman” were published as separate stories. When “Fatalist” was published in “ Domestic notes"The editors published a notice that the author intends to publish in the near future "a collection of his stories, both printed and unpublished."

Why exactly does the story “Fatalist” complete the novel “A Hero of Our Time” by M.Yu. Lermontov? Author: Lermontov M.Yu. Novel “Hero of Our Time” by M.Yu. Lermontov is a work of social and psychological orientation, consisting of five chapters. They are separate stories and are arranged not according to the plot, but according to the plot.

Refutation essay. Of two friends, one is always the slave of the other. This ridiculous phrase was said by Pechorin, the hero of M. Yu. Lermontov’s work “Heroes of Our Time.” I believe that his statement is not true, since friendship is based on equality, mutual respect and mutual trust. Such a thought could have occurred to Pechorin only because he himself never had real friends.

Explaining the image of Pechorin, V.G. Belinsky said: “This is the Onegin of our time, the hero of our time. The dissimilarity between them is much less than the distance between Onega and Pechora.”

Lermontov wrote that the history of a person’s life sometimes happens more interesting than history a whole people. In the novel "Hero of Our Time" he showed moments in the life of a man who was superfluous to his era.

Pechorin's relationship with other characters in Lermontov's novel "A Hero of Our Time". Author: Lermontov M.Yu. Pechorin’s relationship with other characters in Lermontov’s novel A Hero of Our Time.”

Nature and civilization in M. Yu. Lermontov’s novel “A Hero of Our Time.” Author: Lermontov M.Yu. Mikhail Yuryevich Lermontov's novel “A Hero of Our Time” is the first realistic novel with deep philosophical content in Russian literature. After reading it, the reader becomes acquainted with its complex and unusual composition, where the biography of the main character is depicted out of chronological order.

The scene of the capture of a Cossack killer in M.Yu. Lermontov’s novel “A Hero of Our Time.” (Analysis of an episode from the chapter “Fatalist”.)

Pechorin's fatalism (based on the novel by M. Yu. Lermontov "Hero of Our Time") Author: Lermontov M. Yu. In the novel “A Hero of Our Time,” Mikhail Yuryevich Lermontov discusses why smart and energetic people do not find use for their remarkable abilities and “wither without a fight” at the very beginning of their life’s journey.

Author: Lermontov M.Yu. Pechorin likes to doubt everything, so he refrains from straightforward judgment. The hero comes to the conclusion that under any circumstances, no matter what, he must act, show his will and determination. Courage, thirst for the unknown, will, and unrequited doubt distinguishes Pechorin from the people of his generation and allows the author to call him a hero of the time.

Author: Lermontov M.Yu. Mikhail Yuryevich Lermontov became known to the Russian people thanks to the angry poem “The Death of a Poet,” which he dedicated to A. S. Pushkin, who was killed in a duel. Poem by a young poet ruling circles noble society was greeted with hatred. Emperor Nicholas I saw in Lermontov the direct successor of the Decembrists and successor of Pushkin and ordered the young poet to be sent to the Caucasus, assigning him to the active army.

One of central works Russian classics of the 19th century century. Great creator of his time - M.Yu. Lermontov. Interconnected stories, each of which carries specific name. Pechorin's life story.