The novel hero of time is the story of the human soul. The history of the human soul (based on the novel by M.Yu. Lermontov "Hero of Our Time")

Essay plan:

1. What is the book about? (genre, composition).

3. In what order should the chapters go?

"A Hero of Our Time" was the first novel to touch on real events that were examined from a psychological point of view. Lermontov himself said about the book that studying a person’s soul is sometimes more interesting than learning the history of an entire people.

Sequence of events of the novel

The author set out to reveal the depths of the human soul on the pages of his work. First of all, he sought to show how complex Pechorin’s character is, filled with contradictions.

This goal forced Lermontov to take a unique approach to constructing the plot. As a result, the chronology of events was deliberately disrupted in the novel. The book consists of 5 stories, differing from each other in genre features and plot. However, Pechorin serves as a connecting thread for all chapters, as a result of which seemingly disparate parts are combined into a coherent plan. If you study the story of the main character, the events will line up in the following order.

A young officer, sent by the command to the Caucasus for an offense unknown to us, is sent to the place of hostilities, to a new service. Along the way, he ends up in Taman, where he finds himself in the cycle of events told in the chapter of the same name. Then he goes to Pyatigorsk, which we learn about in the chapter “Princess Mary”.

The mortal battle that occurred with Grushnitsky served as the reason for the hero’s exile to the active troops, to the war. The service in the fortress is described in the stories “Bela” and “Fatalist”. A few years later, Pechorin, who became a retiree, while traveling to Persia, meets his old colleague along the way (chapter “Maksim Maksimych”).

Lermontov deliberately broke the usual flow of the narrative. First comes the chapter “Bela”, then “Maksim Maksimych”, then the chapters “Taman” and “Princess Mary” were published, and the book ends with the chapter “Fatalist”.

Change in novel composition to characterize character

The chapter “Bela” reveals the image of Pechorin through the views of Maxim Maksimych, an honest man, but a poorly educated campaigner who failed to understand the hero’s mental turmoil. In the story “Maksim Maksimych” we encounter the main character live, and a passing officer also talks about him.

The final three chapters were written by Grigory Pechorin himself. We either read diary entries or get acquainted with notes created by him much later after the events took place. The intimacy of personal notes shows that the hero here appears before us absolutely sincere, completely frank, judging himself for his weaknesses and vices honestly and very harshly.

Comparison of the hero with other characters

In order to most fully examine Gregory’s spiritual qualities, the author shows him in encounters and relationships with different characters. He places him in different worlds - either in the world of simple, unsophisticated people close to nature (highlanders, Maxim Maksimych, Bela, an undine with a smuggler), then in the world of high society, among aristocrats at a Caucasian resort. The only hero who is compared with Gregory, and not opposed to him, is Dr. Werner.

Various elements of the novel as a frame for the human soul

The pictures of nature created by Lermontov in the novel serve as a background and a manifestation of the spiritual qualities of the protagonist. All natural phenomena are aimed at highlighting Pechorin’s mood more clearly, conveying his experiences more deeply, outlining his actions and clearly highlighting the character’s vices and virtues. We understand him better when we suddenly read in the diary a description of the beautiful morning on which the duel took place.

Lermontov is not interested in the life of his hero, so we practically do not encounter such details. The author does not give a detailed picture of the life of society, does not indicate the political and economic features of the country of that time, as, for example, Pushkin in “Eugene Onegin”. However, in terms of the scale of his depiction of the human soul, Lermontov became very close to Pushkin. No wonder both Belinsky and Herzen compared the novel with Eugene Onegin.

As in the novel “Eugene Onegin” by A. S. Pushkin, in “Hero of Our Time” by M. Yu. Lermontov, approximately the same task is set - to draw a portrait of a man of a new era, a hero of a new time.

Lermontov's novel is arranged in a very interesting way; it consists of five separate stories with independent plots, each of which gradually, step by step, reveals to us the image of the main character who unites all five stories.

Pechorin's name is first mentioned in the first story "Bela". Staff Captain Maxim Maksimych tells his interlocutor, the “wandering officer,” about Pechorin. The ingenuous and simple-minded old man tries his best to be objective and accurate, but there is a lot that remains incomprehensible in his story. He sincerely tries and cannot understand the character and inner experiences of Pechorin, and therefore he does not understand the motives of Pechorin’s actions, committed under the influence of painful reflection and mental contradictions to which the main character of the novel is subject. “Strange man” is all the staff captain can say, defining the character of his former colleague.

The second story slightly lifts the veil of mystery over Pechorin, since here he is shown through the eyes of the author, a man whose intellectual level is closer to Pechorin than Maxim Maksimych. The “wandering officer” is very observant, he is a subtle psychologist, and therefore even his fleeting meeting with the main character gives the reader the opportunity to better examine this “strange man.”

In the following chapters, which are “Pechorin’s Journal”, his diary, the hero himself talks about himself, analyzing his actions and giving them an assessment. From the very first pages of these chapters, it becomes clear that before us is an extraordinary, restless person, constantly searching for the meaning of life.

For some reason, it turns out that Pechorin constantly brings misfortune to others and causes pain to those loved ones with whom fate brings him together. Bela dies, the kindest and simple-minded Maxim Maksimych is offended by Pechorin’s indifference in his best feelings, the romantic idyll of “honest smugglers” is disrupted, Princess Mary is deceived in her love. So who is in front of us? A villain worthy of condemnation alone? But villains are unlikely to suffer, causing misfortune to others, the way Pechorin suffers. Egoist? Yes, of course, but the egoist is “suffering”, worthy not only of condemnation, but also of sympathy. It is not for nothing that Belinsky wrote that “Pechorin’s soul is rocky soil, but the earth has dried up from the heat of a fiery life: let suffering loosen it and water it with blessed rain, and it will grow lush, luxurious flowers.”

Gradually revealing Pechorin’s contradictory character, his complex inner life, full of tossing and searching, Lermontov strives to show “the history of the human soul.” His “Hero of Our Time” is a deeply psychological novel, as if through a prism, examining from all sides an extraordinary figure, a rebel, tirelessly searching for his place in life.

The hero's internal throwings are in complete harmony with his external throwings. It is no coincidence that Pechorin is always on the road. The author throws him either into a mountain village, or into a Caucasian fortress, or into a smugglers’ shack, or into the picturesque environment of a “water society.” It is symbolic that death overtakes him on the way.

Lermontov does not explain how and why his hero ended up in the Caucasus. Was he sent into exile? Perhaps, but another explanation seems more likely. Let’s reread what Pechorin himself recalls about his past: “My colorless youth passed in a struggle with myself and the light; Fearing ridicule, I buried my best feelings in the depths of my heart... I told the truth - they didn’t believe me: I began to deceive; Having learned well the light and springs of society, I became skilled in the science of life... Despair was born in my chest... I became a moral cripple...”

In the light of these words, one can rather assume that Pechorin himself fled to the Caucasus, where military operations were constantly taking place in those days, hoping in numerous dangers and risks to find the meaning of life that he sought in vain in a world that had morally crippled him.

Probably, Pechorin can be called a hero of his time precisely because of his restlessness, state of constant search, and originality, which is especially noticeable against the background of other characters in the novel. Take, for example, Maxim Maksimych. He is deeply decent and kind, but very limited; many years of conscientious service taught him not to burden himself with unnecessary thoughts about the meaning of life. Grushnitsky, he’s just a poser without the slightest signs of sincerity, realness; everything in it is a game and falsehood. Dr. Wagner belongs to a completely different type of people, he is smart and well versed in life, he is insightful and knows the value of the people around him. But at the same time, Wagner is a passive observer, contemplating everything from the outside and analyzing the events taking place from a safe distance. The main feature in Pechorin’s nature is his irrepressible activity, a constant desire to do something, to participate in something.

Such a person will not submit to blind fate, will not go with the flow.

It seems quite natural that Lermontov ends his novel with the story “Fatalist”, posing an important philosophical problem in it. If a person’s fate is predetermined, then all his actions, all moral searches, attempts to change anything in this life lose all meaning.

This is what fatalists think. On the contrary, Pechorin argues with fate all the time, and always challenges it. In the person of Pechorin, Lermontov affirms the ideal of an active, active person who does not want to put up with circumstances.

Literary critics, starting with Belinsky, have repeatedly noted the similarities between Pechorin and Onegin. And indeed, they have a lot in common. They are both superfluous people in the society in which they lived, they both did not find use for the inclinations of their extraordinary nature, both experience disappointment in monotonous, strictly regulated social pleasures, both are trying to find their place and their purpose in life. Onegin, to some extent, succeeds in this; at the end of the novel he appears as a renewed man, capable of ardent love; Lermontov acts differently with Pechorin. It is as if he initially deprives Pechorin of his future; we even learn about his death not at the end, but in the middle of the novel. Perhaps the explanation for this is that Onegin is a representative of the Decembrist generation, whose fate had not yet been decided at that time, and Pechorin already belongs to a different generation, the uprising on Senate Square has already been defeated, and a new perspective is not yet visible.

But nevertheless, after reading the novel there is no feeling of hopelessness. So the “hero of his time” stands before our eyes - a rebel and rebel, striving to change his destiny at any cost. This is how Lermontov portrayed Pechorin, this is how he himself was, who died in a duel at the twenty-seventh year of his life and managed to leave the deepest mark not only in the history of Russian literature, but also in the memory of the people who knew him.

Essays on literature: “The history of the human soul” in the novel by M. Yu. Lermontov “A Hero of Our Time” In the preface to the novel “A Hero of Our Time,” Lermontov defines his writing task - to paint a “modern man,” “a portrait made up of the vices of our entire generation.” Belinsky called the novel “a sad thought about our time.” The peculiarity of the novel is that the portrait of time is drawn as the story of one human soul. Pechorin himself, reflecting on his life, finds in it much in common with the fate of his generation. “We are no longer capable of making great sacrifices, either for the good of humanity, or even for our own happiness, because we know its impossibility and indifferently move from doubt to doubt.” The task of recreating the story of one soul allowed Lermontov to draw the complex and contradictory character of the hero. There is a lot of cruelty and selfishness in Pechorin’s actions and thoughts. He treats Maxim Maksimych pointedly coldly, who enthusiastically greeted him after a long separation; is the cause of Bela's death; plays with the feelings of Princess Mary, which is why she believes that he is “worse than a murderer.” He talks cynically about friendship (“Of two friends, one is always the slave of the other”), about love (“Women love only those they do not know”), about happiness (“What is happiness? Saturated pride”), about suffering and joy others only in relation to oneself.

Pechorin brings suffering to everyone he meets: Bela, “honest smugglers,” Mary, Grushnitsky, Maxim Maksimych. But this does not prevent him from being very strict with himself. He calls himself a “moral cripple,” an “executioner” (“I play the pathetic role of an executioner,” “I played the role of an ax in the hands of fate”). He realizes that he has lived an empty and aimless life: “Why did I live? For what purpose was I born?” He does not see the meaning and joy in life: “I am like a man yawning at a ball, who does not go to bed only because his carriage is not yet there.” However, Pechorin's soul consists not only of dark sides. This is a hero who longs for love, goodness and beauty, and is capable of good. Sometimes his “cold, powerless despair” breaks through.

Lermontov portrays his shock at Bela’s death (albeit hidden from prying eyes), his passionate tragic love for Vera, his ability to feel nature (in the scene before the duel with Grushnitsky). The charm of Pechorin's personality lies in his sharp mind, in the ability to look at himself from the outside, in the strength of character, in the desire to create his own destiny. “I always move forward more boldly when I don’t know what awaits me.” Even in the pitiful Trutnitsky, he hopes to see the awakening of nobility and conscience. For all the originality and uniqueness of Pechorin’s personality, his life is “a smooth path without a goal.” This is the tragedy of a “hero of his time.” What could Pechorin direct his rich spiritual potential to? The socio-psychological conditions of the era, which require blind obedience to traditions and obedience, do not provide space and true meaning in the life of such a person. Disappointment and skepticism are also a feature of the times.

Characterizing the Pechorin generation, Herzen wrote: “Forced to remain silent, we learned, withdrawing into ourselves, to harbor our thoughts - and what thoughts!.. They were doubts, denials, thoughts full of rage.”

Progress of work: - get acquainted with the history of the creation of the novel, genre features; - get acquainted with the history of the creation of the novel, genre features; - find out the reasons for the discrepancy between the plot and the plot; - identify the place of Pechorin - the main character of the novel - in the system of other characters.

History of the creation of the novel The novel began in 1837 - 1838. Completed in 1839. Initially, the chapters of the future novel were published as independent ones. In 1840 they were combined into a novel. At first the novel had the title “One of the heroes of the beginning of the century” “Hero of our time” title

Genre of the novel “Bela” “Maksim Maksimych” “Taman” “Princess Mary” “Fatalist” romantic short story travel essay psychological short story adventure short story action story diary “secular” story notes romantic short story socio-psychological philosophical novel

Storytelling system THREE POINTS OF VIEW Traveling officer Maxim Maksimych Pechorin Old officer Gives an objective assessment He judges and executes himself HOW THE HERO IS PRESENTED Pechorin is a mysterious and enigmatic person. An attempt to give an explanation for certain actions. Tragic confession of a hero.

ATTITUDE OF THE HEROES TO THE PAST Pechorin Maxim Maksimych Everything that happened is painful Cannot and does not want to remember calmly, especially the story with Bela Pain in the soul - cannot forgive the story with Bela (her death) Everything that happened is sweet Shared memories are the basis for a conversation that is looking forward to Memories of the past add some significance to the story “Maksim Maksimych”

Pechorin’s attitude towards the characters in the story: At the beginning of the story At the end of the story The Blind Boy Ondine “An Unpleasant Impression” The boy’s fate evokes sympathy, despite the fact that he robbed Pechorin. “A strange creature...” Has a strong, decisive, almost masculine character, combined with such qualities as deceit and pretense.

Werner is Pechorin’s “double” according to Pechorin’s definition, a “remarkable man” deep and sharp mind, insight, observation, knows people, kind heart (“cried over a dying soldier”) hides his feelings and moods under the guise of irony and ridicule CAN PECHORIN AND WERNER BE FRIENDS? PECHORIN: “We soon understood each other and became friends, because 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 themselves; I cannot be a slave, and in this case commanding is tedious work, because at the same time I have to deceive..."

Grushnitsky - a caricature of Pechorin in Pyatigorsk Grushnitsky came to “become the hero of a novel” “... spent his whole life focusing on himself,” he says “in pompous phrases,” “producing an effect is his pleasure” “... I feel that we will someday encounter him on a narrow road, and one of us will be in trouble.” Through the eyes of Pechorin Through the eyes of the reader, he is capable of meanness and deception (a duel with Pechorin) all the time trying to imitate someone next to Pechorin, he looks pitiful and funny

Duel with Grushnitsky Excerpt from the teleplay “Pages of Pechorin’s Journal”, dir. A. Efros, 1975 Pechorin - Oleg Dal, Grushnitsky - Andrei Mironov Excerpt from the film “Princess Mary”, dir. I. Annensky, 1955 Pechorin - Anatoly Verbitsky, Grushnitsky - L. Gubanov M.A. Vrubel, 1890 – 1891 YES. Shmarinov, 1941

Scene of the chase for Vera “...I thought my chest would burst; all my firmness, all my composure disappeared like smoke. My soul became weak, my mind fell silent..." "When the night dew and mountain wind refreshed my hot head and my thoughts returned to normal order, I realized that chasing after lost happiness was useless and reckless..." Inconsistency, duality of the hero 33 Data received Lack of purpose in life - the main source of Pechorin’s tragedy, therefore his actions are petty, his ebullient activity is empty and fruitless. V. G. Belinsky very correctly noted that in Lermontov’s hero “there is a secret consciousness that he is what he seems to himself...”

Allery.com Company Logo Courage, thirst for the unknown, and will distinguish Pechorin from the people of his generation and allow the author to sympathetically follow his fate and call him a Hero of the Time...

"Hero of Our Time" is a very exciting work by Mikhail Yuryevich Lermontov. This novel contains many philosophical thoughts. In addition, it tells the story of the soul of the main character - Grigory Alexandrovich Pechorin.

It is important to note the unusual compositional structure of the novel. The chapters in it are not arranged in the correct chronological order, so the reader may initially be confused by Pechorin's behavior.

The very first chapter in chronological order should be the “Taman” chapter. It is with this part that Pechorin’s diary begins. Grigory ended up in this city on official business, but he doesn’t like the city at all: “Taman is the worst little town of all the coastal cities of Russia. I almost died of hunger there, and on top of that they wanted to drown me.” Besides all this , Pechorin finds himself in a rather strange and suspicious environment.

In the chapter "Taman" Lermontov began to reveal the character of Pechorin. He does not think at all about other people, he cares only about his own interests and needs. Pechorin distorted the fates of other people, which he himself discusses: “And why did fate throw me into the peaceful circle of honest smugglers? Like a stone thrown into a smooth spring, I disturbed their calm and, like a stone, I almost sank to the bottom!”

What follows is the most voluminous part of the novel - Princess Mary. It can be distinguished as an independent story. This chapter reveals Pechorin's difficult relationship with society, his ability to feel, and the fickleness of his soul. The reader sees a complete disclosure of the essence of Pechorin. The complexity and beauty of the chapter's plot can attract anyone.

The chapter "Bela" is very significant in this novel. It is easy to notice the contrast between Pechorin and Bela herself. Bela is ready to sacrifice herself for the sake of love, but for Pechorin there is nothing more expensive than himself. This part of life is very instructive for the main character. He realized: “The love of a savage is no better than the love of a noble lady.” Pechorin hoped to find happiness with Bela. But, alas, Bela dies tragically. After this incident, Pechorin despaired of finding the love of his life.

The chapter “Fatalist” completes the novel; in addition, it is the last in Pechorin’s diary itself. The basis of this chapter is a bet between Lieutenant Vulich and Pechorin. Then Vulich invited Gregory to check whether a person can live regardless of the predictions of his fate, or whether everything is destined from above.

Grigory makes a bet and loses it - the gun misfired. Here Pechorin showed himself to be a cynic: “Everyone dispersed, accusing me of selfishness, as if I had made a bet with a man who wanted to shoot himself, and without me it was as if he could not find an opportunity!” Pechorin convinces himself of the existence of a predetermined fate. Another proof of this was the death of Vulich: “After all this, how can one not become a fatalist? How often do we mistake for a belief a deception of feelings or a lapse of reason...”
The chapter "Maksim Maksimych" is the latest in terms of time of action. She takes her rightful place in the novel. The chapter describes the last meeting of Maxim Maksimych with Pechorin. However, Pechorin was quite cold towards the old man. Maxim Maksimych concluded: “Oh, really, it’s a pity that he will end badly... and it can’t be otherwise! I’ve always said that there’s no use in those who forget old friends!” His words became prophetic - Pechorin dies in Persia.
The work of Mikhail Yuryevich Lermontov, and especially “Hero of Our Time,” had a great influence on Russian literature. His narrative of the development of the human soul is a heritage of Russian literature of the 19th century.