Onegin and Pechorin have different things in common. Comparative characteristics of Eugene Onegin and Grigory Pechorin essay

Collection of essays: Similarities and differences between the images of Onegin and Pechorin

The images of Pechorin and Onegin are similar not only in semantic similarity. V.G. noted the spiritual kinship of Onegin and Pechorin: “Their dissimilarity is much less than the distance between Onega and Pechora... Pechorin is the Onegin of our time.”

The novels “Eugene Onegin” and “Hero of Our Time” were written at different times, and the duration of these works is different. Eugene lived in an era of rising national and social self-awareness, freedom-loving sentiments, secret societies, and hopes for revolutionary changes. Pechorin is a hero of the timeless era, the period of reaction, the decline of social activity. But the problems of both works are the same - the spiritual crisis of the noble intelligentsia, which critically perceives reality, but does not try to change or improve the structure of society. The intelligentsia, which is limited to passive protest against the lack of spirituality of the surrounding world. The heroes withdrew into themselves, wasted their strength aimlessly, realized the meaninglessness of their existence, but had neither a social temperament, nor social ideals, nor the ability for self-sacrifice.

Onegin and Pechorin were brought up in the same conditions, with the help of fashionable French tutors. Both received a fairly good education for those times; Onegin communicates with Lensky, talks on a wide variety of topics, which indicates his high education:

...Tribes of past treaties,

And age-old prejudices,

And the grave secrets are fatal,

Fate and life...

Pechorin freely discusses with Dr. Werner the most complex problems of modern science, which indicates the depth of his ideas about the world|and breadth of interests.

However, both of them did not have the habit of independent systematic work - the habit of idleness [corrupted their souls. Onegin, “devoted to idleness, (languishing with spiritual emptiness... he set up a shelf with a group of books, read, read, but all to no avail: there is boredom, there is deception and delirium; there is no conscience in that, there is no point in that.” Pechorin took up books just as zealously and just as easily left them: “I began to read, study - I was also tired of science.” The inability for purposeful, concentrated work on oneself, caused by the accessibility, ease of everything received from life, the lack of clear ideas about social ideals - all this led them to denial “empty light” and deep dissatisfaction with one’s life.

But before denying secular pleasures, both heroes willingly indulged in them, not at all embarrassed by idle pastime. Both were very successful in the “science of tender passion, which Nazon sang.” Onegin was coldly calculating in the love game:

How he knew how to seem new,

Jokingly amaze innocence,

Frighten with despair

To amuse with pleasant flattery...

Beg and demand recognition

Listen to the first sound of the heart,

Pursue love, and suddenly

Achieve a secret date...

Pechorin also prudently, in full accordance with the secular rules of seduction, treated women: “... when meeting a woman, I always unmistakably guessed whether she would love me... I never became a slave to the woman I loved, on the contrary, I always acquired over their will and invincible power in my heart... is that why I never value anything very much..."

However, in my opinion, Onegin is much softer, more humane than Pechorin. Realizing the vanity of social life, he, having met a beautiful girl, nobly did not take advantage of the inexperience and sincerity of an inexperienced soul. Although “the language of girlish dreams disturbed his thoughts with a swarm,” Onegin, mentally devastated by social life, realizing that “there is no return to dreams and years,” delicately rejects Tatyana’s love: “I love you with the love of a brother and, perhaps, even more tenderly.”

Pechorin shamelessly takes advantage of the love of dear Bela, infinitely devoted to him, provokes the love of Princess Mary, who is indifferent to him, just to annoy the empty and arrogant Grushnitsky and once again be convinced of his power over women. Ruthlessly trampling someone else's feelings, Pechorin no longer evokes compassion, but hostility.

Both heroes are selfish and incapable of true friendship.

Onegin “vowed to infuriate Lensky and take revenge,” succumbing to a momentary impulse of mental weakness. He regrets the duel, recognizes its meaninglessness, but cannot overcome the false idea of ​​​​noble honor. “Having killed a friend in a duel,” Onegin suffers painfully and, restless, tries to escape from himself.

Pechorin deliberately provokes Grushnitsky to challenge, and almost does not regret the ruined life of an empty, vain, not very decent, but still quite harmless person. He admits: “I lied, but I wanted to defeat him. I have an innate passion to contradict..."

Subsequently, Onegin turns out to be capable of real feeling. He punishes himself for being afraid of losing his “hateful freedom” and refusing great love:

I thought: freedom and peace are a substitute for happiness.

My God! How wrong I was, how I was punished...

Evgeny is passionately and selflessly in love, and Tatiana’s refusal is perceived as a life tragedy, the collapse of his hopes for ordinary human happiness.

Pechorin is adamant, declaring: “...twenty times I will put my life, even my honor, on the line, but I will not sell my freedom.”

Both Onegin and Pechorin, wasting themselves, suffer failure in life. Without seeing social goals for themselves, they never find meaning in life. Both regret their wasted youth. These are thinking, suffering, albeit selfish heroes.

Onegin is hopelessly tired of life and exclaims:

Why wasn't I pierced by a bullet?

Why am I not a frail old man?..

Pechorin calls himself a “moral cripple”, realizing that “my best qualities, fearing ridicule, I buried in the depths of my heart.” Both heroes, we repeat, suffer failure in life and both realize this. And yet Pechorin is more active, active, and Onegin is more humane, responsive. Pechorin seeks death and dies; Onegin, with a restless soul, looks joylessly into the future. The remarkable powers of these heroes do not find use; their suffering, selfishness does not allow them to open up to others or devote their lives to society.

There are a number of similarities, but also significant differences, between the hero of Lermontov’s novel “A Hero of Our Time” and the hero of Pushkin’s novel “Eugene Onegin”.

Pechorin and Evgeny Onegin are quite interesting personalities. Their originality is expressed in the fact that, in comparison with other people of the same social generation as them, the main characters of the novels of Pushkin and Lermontov seem to the reader to be smart, sensitive, but at the same time quite cruel and judicious.

They have studied people well, which helps them skillfully deal with the feelings of others. Pechorin became disillusioned with people, lost all interest in life, but throughout the entire novel he tries to find it, painfully hurting the feelings of those around him. Society made him cold and cruel:

“I was ready to love the whole world, but no one understood me: and I learned to hate.”

Evgeny Onegin is tired of life. He quickly became satisfied with all the delights of life, and soon they tired him. Onegin tries to find himself in different areas of activity, but nothing touches his soul. He lost interest in life, became cynical and lazy; his mind and soul demand interest in something, but do not receive it.

“How early could he be a hypocrite,

To harbor hope, to be jealous,

To dissuade, to make believe,

Seem gloomy, languish.”

But there are also differences between Onegin and Pechorin.

Onegin, tired of life's worries, does not try to find the meaning of his existence, to dispel boredom. He is lazy, his heart has not touched anything for a long time, and he seems to lead a meaningless existence. Onegin is not amused by balls and theaters, he has cooled down to life and does everything rather because he has developed such an order over several years.

“No: his feelings cooled down early;

He was tired of the noise of the world;

Beauties were not long the subject of his usual thoughts;

They managed to satisfy the betrayals;

I'm tired of friends and friendship...”

Pechorin appears before readers as the image of a romantic, but at the same time selfish young man. Although he still has a burning desire to find the meaning of life and his purpose in it, all his attempts to do this do not bring him success.

“I became a moral cripple: one half of my soul did not exist, it dried up, evaporated, died, I cut it off and threw it away - while the other moved and lived at the service of everyone, and no one noticed this, because no one knew about the existence the dead half of it."

The similarities and differences of the main characters show the different psychologism of the novels. “Eugene Onegin” is a work that contains hidden optimism; “A Hero of Our Time” is a tragic novel that introduces the reader to a long discussion about the eternal questions of life.

Effective preparation for the Unified State Exam (all subjects) -

Pechorin and Onegin belong to that social type of the twenties of the nineteenth century, who were called “superfluous” people. “Suffering egoists”, “clever uselessness” - this is how Belinsky figuratively and accurately defined the essence of this type.
So, how are the characters in Pushkin’s and Lermontov’s works similar and different?
First of all, the heroes of both novels appear before us as historically and socially determined human characters. The social and political life of Russia in the twenties of the nineteenth century - the strengthening of political reaction, the decline in the spiritual strength of the younger generation - gave birth to a special type of incomprehensible young man of that time.
Onegin and Pechorin are united by their origin, upbringing and education: both of them come from wealthy noble families. At the same time, both heroes do not accept many of the secular conventions and have a negative attitude towards external secular splendor, lies, and hypocrisy. This is evidenced, for example, by Pechorin’s extended monologue about his “colorless” youth, which “passed in a struggle with himself and the world.” As a result of this struggle, he “became a moral cripple,” quickly becoming fed up with “all the pleasures that can be obtained for money.” The same definition is quite applicable to Pushkin’s hero: “a child of fun and luxury,” he quickly got tired of the bustle of society, and “the Russian melancholy took possession of him little by little.”
The heroes are also united by spiritual loneliness among the secular “motley crowd.” “... My soul is spoiled by light, my imagination is restless, my heart is insatiable,” Pechorin bitterly notes in a conversation with Maxim Maksimych. The same is said about Onegin: “... the feelings in him cooled down early; he was tired of the noise of the world.”
This is where the idea of ​​escapism arises in both works - the desire of both heroes for solitude, their attempt to distance themselves from society and worldly vanity. This is expressed both in a literal departure from civilization and in an escape from society into the world of internal experiences, “throwing off the burden of the conditions of light.” Onegin and Pechorin are also united by the common motif of “wandering without a goal,” “wanderlust” (Pechorin’s wanderings in the Caucasus, Onegin’s fruitless travels after the duel with Lensky).
Spiritual freedom, which is understood by the characters as independence from people and circumstances, is the main value in the worldview of both characters. So, for example, Pechorin explains his lack of friends by the fact that friendship always leads to the loss of personal freedom: “Of two friends, one is always the slave of the other.” The similarity between Onegin and Pechorin is also manifested in their identical attitude towards love and inability for deep affection:
“We’ve had time to tire of the betrayals;
I’m tired of friends and friendship.”
Such a worldview determines the special significance of the heroes’ actions in the lives of other people: both of them, in Pechorin’s different expressions, play the role of “axes in the hands of fate,” causing suffering to the people whom their fate encounters. Lensky dies in a duel, Tatyana suffers; similarly, Grushnitsky dies, Bela dies, kind Maxim Maksimych is offended, the smugglers’ way of life is destroyed, Mary and Vera are unhappy.
The heroes of Pushkin and Lermontov are almost equally likely to “assume a form”, “put on a mask”.
Another similarity between these heroes is that they embody the type of intellectual character who is characterized by originality of judgment, dissatisfaction with oneself, a penchant for irony - everything that is brilliantly defined by Pushkin as a “sharp, cooled mind.” In this regard, there is a direct overlap between Pushkin’s and Lermontov’s novels.
However, there are clear differences between the characters of these characters and the means of their artistic depiction in both novels.
So what's the difference? If Pechorin is characterized by a boundless need for freedom and a constant desire to “subordinate to his will what surrounds him,” “to arouse feelings of love, devotion and fear,” then Onegin does not strive for constant self-affirmation at the expense of other people, and takes a more passive position.
Pechorin's worldview is also distinguished by great cynicism and some disdain for people.
Onegin is characterized by mental apathy and indifference to the world around him. He is not capable of actively transforming reality and, “having lived without a goal, without work until the age of twenty-six, ... he did not know how to do anything,” “he was sick of persistent work.” This hero, unlike Pechorin, is less consistent in his principles.
So, with a comparative analysis of Pushkin’s and Lermontov’s works, one can identify both common and different in the images of these heroes and the methods of their artistic embodiment. Onegin and Pechorin are typical heroes of their time and at the same time universal human types. However, if Pushkin is more interested in the socio-historical aspect of the problem of the “superfluous man,” then Lermontov is concerned with the psychological and philosophical sides of this issue.
The artistic evolution of the “superfluous man” in Russian classical literature continues primarily in the images of Oblomov and Rudin in the novels of the same name by Goncharov and Turgenev, which reflect the historical changes of this human type.

A. S. Pushkin worked on the novel “Eugene Onegin” for many years, it was his most favorite work. Belinsky named in
In his article "Eugene Onegin" this work is an "encyclopedia of Russian life." Indeed, in this novel there is a picture
all layers of Russian life: the high society, the small nobility, and the people - Pushkin studied the life of all layers well
society of the early 19th century. During the years of writing the novel, Pushkin had to go through a lot, lose many friends, experience bitterness from
the death of the best people of Russia. For the poet, the novel was, in his words, the fruit of “a mind of cold observations and a heart of sorrowful observations.”

Against the broad background of Russian pictures of life, the dramatic fate of the best people, the leading noble intelligentsia of the era, is shown
Decembrists. Without Onegin, Lermontov's "Hero of Our Time" would have been impossible, because a realistic novel created
Pushkin, opened the first page in the history of the great Russian novel of the 19th century. Pushkin embodied in the image of Onegin many of
those traits that were later developed in individual characters of Lermontov, Turgenev, Herzen, Goncharov.

Exploring Lermontov's novel "A Hero of Our Time", Be-

Linsky noticed that Pechorin in many ways resembles

Pushkin's Onegin. This gave the critic reason to call Pecho-

Rina "Onegin's younger brother." Emphasizing the undoubted

the similarity of the heroes of the two great poets, he said in his article

"Hero of Our Time": "The difference between them is much less than

the distance between Onega and Pechora."

The heroes of A.S. Pushkin and M.Yu. Lermontov are separated by less than 10 years. They could meet in the same drawing room, at the same ball
or in the theater, in the box of one of the “noted beauties”. And yet, what was more - similarities or differences? Sometimes in them
divides people more powerfully and mercilessly than a whole century.

In my opinion, Evgeny Onegin and Pechorin are very similar in character, both of them are from a secular environment, received a good upbringing,
they are at a higher stage of development, hence their melancholy, melancholy and dissatisfaction. All this is characteristic of souls more
thinner and more developed.

Some readers suggested that Lermontov portrayed himself in the person of Pechorin. Of course, many thoughts and feelings

"a portrait made up of the vices and shortcomings of all our

younger generation."

Grigory Aleksandrovich Pechorin, like Onegin, belonged to the aristocracy of St. Petersburg and also “frantically chased

pleasures of life" when "three houses call for the evening." He,

like Onegin, perhaps even to a great extent, he is rich, has no need of funds at all, is generous and wasteful.
Apparently, like Evgeniy, he changed many occupations. “Persistent work” sickened not only Onegin, but many brilliant
young nobles. Freed from the need that drives them to activity, and devoid of ambition, they are negligent in their service and
any other business. The modest rank of ensign does not burden Pechorin at all and testifies to his attitude towards the service. Many

actions may permanently disqualify him from serving.

Grigory Alexandrovich has a lot of attractive things. He is a well-read, intelligent, interesting and witty conversationalist.
He has a steel will, self-control, and endurance. The writer endows him with physical strength. He is young, full of energy, has
Success with women unwittingly subjects others to its influence. It would seem that such a person should be happy all around. But
No! Pechorin is dissatisfied with himself and those around him; every business, like love, soon tires and becomes boring.

What is only outlined in Onegin develops in Pechorin

fully. Only three days were new for Evgeny in the village. To him

the devotion of a simple village girl is not interesting. But

he is ready to give everything to achieve the love of the already married Tatiana. And then, probably, he could leave her. Such is the nature of these

of people. Out of boredom, Onegin takes care of Olga, arousing Lensky's jealousy. And everything, as we know, ends tragically. IN

Lermontov shows a much stronger “ability” to bring nothing but trouble to people who love him. That and

He himself notices that his actions do not bring good to those around him.

Selfishness is a central part of the character of both heroes.

But these images undoubtedly reflected social phenomena associated with the timelessness that came after the Decembrist
movement, the Nikolaev reaction, that attitude to the life of the higher nobility, which Lermontov so brilliantly described.

Pushkin writes about Onegin: “Handra was waiting for him on guard, and she ran after him like a shadow or a faithful wife.” secular society,
in which Onegin, and later Pechorin, revolved, spoiled them. It did not require knowledge, a superficial one was enough
education, knowledge of the French language and good manners was more important. Evgeniy, like everyone else, “danced the mazurka lightly and bowed
at ease." He spends his best years, like most people of his circle, on balls, theaters and love interests. The same
Pechorin also leads a lifestyle. Very soon both begin to understand that this life is empty, that there is no truth behind the “external tinsel.”
nothing, boredom, slander, envy reign in the world, people waste the inner strength of their souls on gossip and anger. Little fuss
empty conversations of “necessary fools”, spiritual emptiness make the life of these people monotonous, outwardly
dazzling, but devoid of inner content. Idleness and lack of high interests trivialize their existence. Day
looks like day, there is no need to work, there are few impressions, so the smartest and best fall ill with nostalgia. Your homeland and
They essentially don’t know the people. Onegin “wanted to write, but he was sick of persistent work...”, he also did not find the answer in books
to your questions. Onegin is smart and could benefit society, but the lack of need for work is the reason why
that he does not find something to do to his liking. This is what he suffers from, realizing that the upper layer of society lives off the slave
the labor of serfs. Serfdom was a disgrace to Tsarist Russia. Onegin in the village tried to alleviate the situation of his
serfs ("...he replaced the old corvée with a light quitrent..."), for which he was condemned by his neighbors, who
They considered him an eccentric and a dangerous “freethinker.”

Many people also do not understand Pechorin. In order to further reveal the character of his hero, Lermontov places him in the most
various social spheres, encounters a wide variety of people. When was the separate edition of “Our Hero” published?
time", it became clear that before Lermontov there was no Russian realistic novel. Belinsky pointed out that "Princess Mary" -
one of the main stories in the novel. In this story, Pechorin talks about himself, reveals his soul. It's stronger here
In all, the features of “A Hero of Our Time” as a psychological novel emerged.

In conclusion, I would like to quote the words of Belinsky, who wrote that “Pechorin is the Onegin of our time.” Novel "Hero"
of our time" is a bitter reflection on the "history of the human soul", a soul destroyed by the "deceptive shine
capital", seeking and not finding friendship, love, happiness. Pechorin is a suffering egoist. Belinsky wrote about Onegin: "Strength
this rich nature was left without application: life without meaning, and the novel without end." The same can be said about Pechorin.
Comparing the two heroes, he wrote: “...The roads are different, but the result is the same.” Despite all the difference in appearance and difference
characters and Onegin; both Pechorin and Chatsky belong to the gallery of “superfluous people for whom there is no
there was no place, no business. The desire to find one’s place in life, to understand the “great purpose” is the main meaning
novel of Lermontov's lyrics. Is it not these reflections that occupy Pechorin, leading him to a painful answer to the question: “Why do I
lived?" This question can be answered with the words of Lermontov: "Perhaps, with heavenly thoughts and the power of spirit, I am convinced that I would give to the world
a wonderful gift, and for that it gives me immortality..."

I believe that in the works of Pushkin “Eugene Onegin” and Lermontov “Hero of Our Time” the authors protest against
a reality that forces people to waste their energy.

(1 option)

"Eugene Onegin" and "Hero of Our Time" are the main milestones in the development of Russian literature of the 19th century. These are the best works of two true geniuses of Russia: A.S. Pushkin and M.Yu. Lermontov. The novels shock readers and literary scholars not only with the grandeur of their concept, but also with their innovation. It manifests itself primarily in the disclosure of the images of the two main characters. For the first time, Pushkin wrote a realistic novel in verse. It was akin to a revolution. The poet was worried about his creation, realizing that not all people would be able to appreciate a work that was ahead of its time. These worries were not unfounded. Even many of Pushkin’s friends could not understand the genius of the concept of the work.

M.Yu. Lermontov went even further in his creative quest. The novel he created was not realistic, like Pushkin’s, but combined the features of two movements. And this brilliant work was not appreciated by critics and contemporaries.

First of all, the innovation of the two novels lies in the characters that were new to the literature of that time. Subsequently, this type was called the “superfluous person.” This concept implies a romantic, then a realistic image of a young man, a nobleman, smart, educated and interesting, but far from real life, disappointed, inactive, alien to his contemporaries. The gallery of these characters opens with Onegin, followed by Pechorin.

The time of appearance of such characters is the 1830s, a period of decline. After the Decembrist uprising and the accession of Nicholas I, a cruel, reactionary politician, public life in Russia became quiet for a long time. A new social phenomenon appeared - young people who had everything except happiness and a sense of significance of their personality. Their sufferings and quests were embodied in novels about Onegin and Pechorin - heroes of their time.

Despite the apparent dissimilarity of the two works, their plot is constructed in the same way: the hero goes through some kind of test, his character is revealed depending on the situation.

Undoubtedly, the main test for both Onegin and Pechorin is the test of love.

Onegin, like Pechorin, at the beginning of the novel appears as a conqueror of other people's hearts, "a fickle admirer of charming actresses." He was not interested in deep feelings, he did not look for love for the rest of his life, to the death, but only cynically sought the adoration of pretty girls, and, having achieved it, quickly abandoned them, without thinking about the suffering caused. It was his cure for boredom.

How early could he be a hypocrite?

To harbor hope, to be jealous,

To dissuade, to make believe,

Seem gloomy, languish,

Be proud and obedient

Attentive or indifferent!

Onegin clearly succeeded in the “science of tender passion.”

So, Onegin is a playmaker. But then he meets Tatyana. He manages to easily win over this provincial young lady. She does not shine with beauty, and her soul is darkness for a carminative. And Evgeniy here simply plays the role of a mentor, teaching the girl how to live. But, having returned from the trip, having experienced a moral revolution and purification, he looks at Tatyana with different eyes. Onegin falls in love with her, completely loses his head, and not because Tatyana has changed (she remained the same in her soul), but because profound changes have affected Eugene himself, he has grown spiritually and has become worthy of Tatyana. But Onegin was late, she is married and will be “faithful to him forever.” And this is a clear illustration of the tragedy of the “superfluous man,” his “pathetic lot.”

Pechorin repeats the fate of Onegin. He also wanders aimlessly through life, trying to find himself; for some reason he also achieves the love of women, and then leaves them. Onegin sees that Tatyana has become his victim, but it is too late. Pechorin also could have prevented the tragedies of Bela and Mary, but did not want to. He also played with the fate of Vera, but she turned out to be stronger than him - and here he is, crushed and humiliated, crying about his lost happiness.

In the romantic "Hero of Our Time" there is no single female image. We recognize Tatyana's traits in Bel, Mary, and Vera. And thus, the hero’s love is more multifaceted and expressive.

The attitude of the heroes towards friendship is no less expressively described. Lermontov again lacks clarity; Lensky is embodied in Grushnitsky, Werner, and even Maxim Maksimych. However, a comparison between Lensky and Grushnitsky suggests itself. Pechorin and Grushnitsky also “have nothing to do, friends.” The storyline of a duel over a trifle, one’s infatuation with the other’s beloved, can also be traced in both works.

It is impossible not to mention the moral quest of Onegin and Pechorin, because both of them are involuntarily alien to the high society, the society to which they should belong. Onegin travels around Russia, Pechorin – around the Caucasus, both try to find the meaning and purpose of their existence in these travels. They trail women, make them suffer, fight in duels, ruin people's lives, without knowing why. As a result, their fate is unenviable.

Both Onegin and Pechorin are real “heroes of the times.” They are very similar to each other, and their tragedies are similar. There is no refuge for them in the whole world; they are destined to suffer and seek peace all their lives. Such is the fate of extra people.

(Option 2)

Probably, when starting his novel, Lermontov thought that his main character would remind readers of the existence of Pushkin’s Onegin. The undoubted similarity of the images of Eugene Onegin and Grigory Pechorin was one of the first to be noted by V. G. Belinsky. “Their dissimilarity is much less than the distance between Onega and Pechora... Pechorin is the Onegin of our time,” the critic wrote.

The life span of the heroes is different. Onegin lived in the era of Decembrism, freethinking, and rebellion. Pechorin is a hero of the timeless era. What the great works of Pushkin and Lermontov have in common is the depiction of the spiritual crisis of the noble intelligentsia. The best representatives of this class turned out to be dissatisfied with life and removed from public activities. They had no choice but to waste their strength aimlessly, turning into “superfluous people.”

The formation of characters and the conditions of education of Onegin and Pechorin are, without a doubt, similar. These are people of the same circle. The similarity of the heroes is that both of them went from agreement with society and themselves to denial of light and deep dissatisfaction with life.

“But early the feelings in him cooled down,” Pushkin writes about Onegin, who “sick” with the “Russian blues.” Pechorin also very early “... despair was born, covered with courtesy and a good-natured smile.”

These were well-read and educated people, which placed them above other young people in their circle. Onegin's education and natural curiosity are revealed in his disputes with Lensky. One list of topics is worth it:

Tribes of past treaties,

The fruits of science, good and evil,

And age-old prejudices,

And the grave secrets are fatal,

Fate and life...

Evidence of Onegin’s high education is his extensive personal library. Pechorin said this about himself: “I began to read, study - I was tired of science too.” Possessing remarkable abilities and spiritual needs, both failed to realize themselves in life and squandered it on trifles.

In their youth, both heroes were carried away by a carefree social life, both succeeded in the “science of tender passion”, in the knowledge of “Russian young ladies”. Pechorin says about himself: “... when meeting a woman, I always unmistakably guessed whether she would love me... I never became a slave to the woman I loved, on the contrary, I always acquired invincible power over their will and heart... Is that why I have never been very I treasure...” Neither the love of the beautiful Bela, nor the serious passion of the young Princess Mary could melt Pechorin’s coldness and rationality. It only brings misfortune to women.

The love of the inexperienced, naive Tatyana Larina also leaves Onegin indifferent at first. But later, our hero, upon meeting again with Tatyana, now a society lady and general’s wife, realizes what he has lost in the person of this extraordinary woman. Pechorin, it turns out, is not at all capable of great feeling. In his opinion, “love is satiated pride.”

Both Onegin and Pechorin value their freedom. Evgeniy writes in his letter to Tatyana:

Your hateful freedom

I didn't want to lose.

Pechorin directly states: “... twenty times I will put my life, even my honor, on the line, but I will not sell my freedom.”

The indifference to people inherent in both, disappointment and boredom affect their attitude towards friendship. Onegin is friends with Lensky "there is nothing to do." And Pechorin says: “... I am not capable of friendship: of two friends, one is always the slave of the other, although often neither of them admits this to himself; I cannot be a slave, and in this case commanding is tedious work, because it is necessary at the same time, to deceive..." And he demonstrates this in his cold attitude towards Maxim Maksimych. The words of the old staff captain sound helplessly: “I’ve always said that there is no use in those who forget old friends!..”

Both Onegin and Pechorin, disillusioned with the life around them, are critical of the empty and idle “secular mob.” But Onegin is afraid of public opinion, accepting Lensky’s challenge to a duel. Pechorin, shooting with Grushnitsky, takes revenge on society for unfulfilled hopes. Essentially, the same evil prank led the heroes to a duel. Onegin “swore to enrage Lensky and take proper revenge” for a boring evening at the Larins’. Pechorin says the following: “I lied, but I wanted to defeat him. I have an innate passion to contradict, my whole life was only a tribute to sad and unsuccessful contradictions of the heart or mind...”

The tragedy of the feeling of one’s own uselessness is deepened for both by the understanding of the uselessness of their lives. Pushkin exclaims about this bitterly:

But it's sad to think that it's in vain

We were given youth

That they cheated on her all the time,

That she deceived us

What are our best wishes?

What are our fresh dreams

Decayed in quick succession,

Like rotten leaves in autumn.

Lermontov’s hero seems to echo him: “My colorless youth passed in a struggle with myself and the light, my best qualities, fearing ridicule, I buried in the depths of my heart: they died there... Having learned well the light and springs of life, I became a moral cripple.”

Pushkin's words about Onegin, when

Having killed a friend in a duel,

Having lived without a goal, without work

Until twenty-six years old,

Languishing in idle leisure,

he “began wandering without a goal,” which can also be attributed to Pechorin, who also killed his former “friend,” and his life continued “without a goal, without work.” During the journey, Pechorin reflects: “Why did I live? For what purpose was I born?”

Feeling “immense forces in his soul,” but completely wasting them, Pechorin seeks death and finds it “from a random bullet on the roads of Persia.” Onegin, at twenty-six, was also “hopelessly tired of life.” He exclaims:

Why wasn't I pierced by a bullet?

Why am I not a frail old man?..