The tragedy of loneliness in the work of a hero of our time. Loneliness is a motif that permeates almost all of the poet’s work and expression of the poet’s state of mind, and at the same time the central theme of his poetry, starting with his youthful poems

Download:

Preview:

The loneliness of a “strange” person

(sight modern reader on the personality of Pechorin).

Analysis of the chapter “Princess Mary” from M.Yu. Lermontov’s novel “Hero of Our Time”

9B class MOU "Secondary School No. 36"

Teacher: Popova E.A.

Perm, 2008

1. Introduction……………………………………………. Page 1

2. The era that determined the character……………………p. 2 – 3

3. the question of the artistic nature of the novel......p. 4 -

4. Loneliness as a conscious choice of the hero……..p.

A) Pechorin and Grushnitsky………………………..pp.

B) “I am not capable of friendship”………………………p.

C) love in the hero’s life………………………….p.

5. Conclusions

In the novel by M.Yu. Lermontov's "Hero of Our Time" takes place in the 30s of the 19th century. This is a difficult period in Russian history.After sudden death Emperor Alexander I in 1825, his brother Nicholas ascended the Russian throne, whose first step was to suppress the Decembrist uprising. At this time, the theory of official nationality - autocracy, Orthodoxy, nationality - became widespread.Transitional, dual character of the era.

The problem of freedom and necessity arises in society. At that time it was not possible to have political freedom, and this sharpened interest in the problem of spiritual and moral freedom. Free will, active opposition to the environment and circumstances - and social determination of character, his destiny; free impulses of feeling, thought - and the force of tradition, habit, and inert environment that constrains them; personal “own need” - and government-official need; the spiritual and moral freedom of a strong personality that knows no limits - and the need to respect the rights and dignity of any other, most inconspicuous human personality

Characteristic features inherent to contemporaries: a collision with an empty and hard light, loneliness, lost hopes, tragic doom.

All this is reflected in the novel.

Pechorin is a “genius of action”, chained to the bureaucratic-noble “heroless” reality of Russia in the 30s of the 19th century. It was a time of reassessment of values, a time of reflection, long and painstaking preparatory work“from the inside,” which was supposed to provide potential opportunities for a new takeoff social struggle. But the “immense forces” of Pechorin’s active nature required immediate release and use, otherwise he had to “die or go crazy.” And he dies in the prime of his strength and capabilities, which have not found worthy use.

Why does he remain a lonely person who has not been able to realize himself in life? What prevented him from applying “immense strength” to a worthwhile task? The answer to this question is complex and ambiguous, just as Pechorin himself is complex and ambiguous. Let's try to answer it by analyzing the chapter of the novel “Princess Mary”. Why this particular chapter? - She takes central place in the composition of the novel, reveals to us inner world, full of contradictions, the world of the soul of this difficult person and shows Pechorin in the environment that shaped him.

Immediately after the appearance of the novel, Pechorin’s personality gave rise to different assessments of his personality and his loneliness. Therefore, asking the question: why is it so bright personality remains out of work, why is a lonely strange man we first turned to literary studies creativity M.Yu. Lermontov.

In our literary criticism, the term “superfluous person” (1) p553) is firmly attached to the image of Pechorin. Belinsky saw the specific difficulty of depicting the life type of a “hero of timelessness” like Pechorin in the fact that this “face is at the same time surprisingly vague, requiring enormous talent for its depiction (2) p. 553). According to the correct observation of A. A. Zhuk, relating primarily to the image of Pechorin, Lermontov’s great “discovery was the deep dialectic of character: the image is built on the antinomies that have entered inside, embodies the extremes embraced by the artistic whole.”

He makes a strange impression not only on representatives of the world, for whom everything truly human is strange, or on the kind and limited Maksim Maksimychs. Pechorin also seems strange to Werner, a man seemingly capable of understanding the intricacies of the most complex human natures(3)s554.

For Lermontov, Pechorin remained a “subject,” an expression of his most sincere ideals and aspirations.

Belinsky pointed out the insufficient separation of the hero from the author.

M.M. Bakhtin wrote: “One of the main internal topics The novel is precisely the theme of the hero’s inadequacy of his fate and his position. Man cannot be fully embodied in the existing socio-historical flesh... There always remains an unrealized excess of humanity, a significant discrepancy appears between the external and inner man... This disintegration of the epic ... integrity of man in the novel ... is combined with the preparation of his new complex integrity at a higher level human development"(4)s558).

As can be seen from the above assessments, many researchers agree that society and external circumstances are largely, if not all, to blame for Pechorin’s tragedy. V.G. Belinsky calls on us to “judging a person, take into account the circumstances of his development and the sphere of life in which he is placed by fate.” Critic S.P. Shevyrev notes that the root of the disease, which dried up the soul and weakened the body, “stems from early disappointment in life and from a murdered and wasted youth.”

Indeed, society and timeis largely involved in Pechorin's loneliness. Upbringing, initial social circle, people’s attitude towards him throughout life.

« - Yes, this has been my lot since childhood! – he writes in his diary. - Everyone read on my face signs of bad qualities that were not there; but they were anticipated - and they were born. I was modest - I was accused of guile: I became secretive. I felt good and evil deeply; no one caressed me, everyone insulted me: I became vindictive; I was gloomy, - other children were cheerful and talkative; I felt superior to them - they put me lower. I became envious. I was ready to love the whole world, but no one understood me: and I learned to hate you. My colorless youth passed in a struggle with myself and the world; Fearing ridicule, I buried my best feelings in the depths of my heart: they died there. 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 and saw how others were happy without art, freely enjoying the benefits that I so tirelessly sought.” In psychology there is a term “integration into society”, the stage of integration is the desire to find one’s place in society, “to fit into society. Integration goes well if a person’s properties are accepted by society, but this did not happen for Pechorin. And further the result of this was the following: “Then despair was born in my chest - not the despair that is treated with the barrel of a pistol, but cold, powerless despair, covered with courtesy and a good-natured smile. 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..." (6)

“In the image of M.Yu. Lermontov Pechorin is just the most typical hero of his century, and infected with his disease, and at the same time, in discord in constant conflict with him" (7)

The novel's artistic method has also generated much controversy. The essence of these debates can be briefly outlined: romanticism or realism? We turn to these debates and assessments with one goal - to consider this in connection with the stated topic.

Romantic and realistic tendencies in the works of M. Yu. Lermontov coexist in complex interaction. Many researchers of Lermontov’s work agree with this. There have been disputes about the direction of this work.

V. A. Manuilov interpreted the novel as a consistently realistic work;

W. R. Focht attributed the novel to critical realism, but also saw elements of romanticism in it;

K. N. Grigoryan interpreted the work as the pinnacle of Russian romantic prose (8) p451).

E. M. Mikhailova writes: “The romantic coloring of Lermontov’s images is romance inner meaning, inner mood." (9)p.457 Udodov)

D. E. Maksimov also notes the intertwining in the image of Pechorin of “a romantic complex with the sobriety of analytical thought” (10) ibid. p. 437)

The artistic nature of “A Hero of Our Time” does not fit into the framework of romanticism or realism, taken separately. As a result, the method of “A Hero of Our Time” was defined as a synthesis of romanticism and realism and conventionally designated as romantic-realistic. The question arises: what is the connection between the artistic nature of the novel and the problem we are exploring of the causes of the loneliness of a “strange” person? It seems to us that such a connection exists.

"Romanticism as art system appeared at a turning point, when the prerequisites arose for highlighting the intrinsic value of the human personality. A person not only stands out from society, but is opposed to it. Some people, according to romantics (their minority), completely surrender to their inner impulses. Romanticism celebrates strong characters, rebels. The romantic hero is often lonely, opposed to the rest of the world, he is at odds with society, does not accept it” (11) Literature 9th grade Romanticism)

Perhaps one of the reasons that Pechorin is lonely is the romantic tradition. After all, Pechorin is truly an extraordinary person who did not fit into his time, who did not find a worthy cause for himself. Lermontov often contrasts it with the empty water society.

Romantics are interested in the relationship between man and nature. They constantly compare the laws of society and the laws of nature. Real world verified by the harmonious world of nature. This trait was reflected in Pechorin’s personality. He communicates more willingly with nature than with people...

Pechorin loves mountains, fast driving, and wind; they give him a feeling of swiftness, free flight, and breathtaking movement. He is repelled by the brilliant, but internally empty secular society and rushes towards wild, virgin nature. The Caucasus is attractive for its exoticism. Everything there is unfeigned, unpretentious. Romantics tend to feel their unity with nature.

Lermontov's main character, like his romantic predecessors, does not accept the reality around him, denies it, strives to actively resist circumstances, subordinate them to his will, “acting at the same time as a typical romantic individualist hero” (12) p. 345 Udodov). Thus, we can assume that Pechorin’s loneliness is partly a tribute romantic tradition, undoubtedly present in the novel. Further, we will be able to verify this once again when we consider Pechorin’s relationship with the “water society.”

But, in our opinion, not only social conditions and personality traits romantic hero caused the hero's loneliness. Analysis of the text of the story “Princess Mary” allows us to talk about Pechorin’s loneliness as a conscious choice life position in relationships with people. Grushnitsky, Mary, Doctor Werner, Vera - these are the people with whom the hero builds relationships in one way or another.

The role of Grushnitsky is complex. The apparent closeness of their social and cultural positions is imaginary: a psychological, social and cultural gap is very soon revealed between them. From the very beginning, Pechorin distances himself from Grushnitsky. In general, in his diaries he denies him the right"be". To portray, to appear, to pretend - yes, but not to be. “He is one of those people who have ready-made pompous phrases for all occasions, which are importantly draped in artificial passions and exceptional suffering... Producing an effect is their pleasure... He spent his whole life focusing on himself... His goal is to become the hero of a novel...” (13)

"Be" - this is the privilege of Pechorin alone. Perhaps Pechorin senses some “strong” strings in Grushnitsky, and this worries him. “I feel that we will someday collide on a narrow road, and one of us will be in trouble.” (14) Pechorin’s attitude towards Grushnitsky betrays Pechorin’s desire to be above everyone.

The following can also be assumed: social status Pechorin is determined by his origin - he is a nobleman. But the “role” that society offers him is below the capabilities of his “I”, his ideas about himself. This is the role of a social dandy, a regular at balls and holidays. Intrapersonal conflict is growing and cannot be resolved. internal tension breaks through in relationships with people. Although in relation to Grushnitsky everything is not so simple. Yes, Pechorin builds his game with him, he enjoys it, but in the duel scene he gives Grushnitsky the opportunity to correct everything, to admit dishonesty: (Quote) Grushnitsky does not use this opportunity, giving Pechorin once again the opportunity to be convinced of the baseness and meanness of people, strengthening him in the desire for loneliness.

Changing oneself and adapting was unacceptable for Pechorin. He strong personality, and maintaining one’s otherness contributes to the emergence of aggressive interactions with people and society.

Sincerity, kindness, intelligence, modesty are not values ​​for a secular society. Pechorin realizes that in the process of integration into society, he buried best qualities souls, and they died, and the whole tragedy is that no one noticed it.

Pechorin had the strength to realize what society had done to him, but he did not have the fortitude to find support in someone from the outside. Although, it seems to us, life provided him with such opportunities.

But Pechorin consciously made a choice not in favor of society. He took the easy way out. He gave up friendship, love. And this is also a responsibility. “On the eve of the duel, when Werner asks Pechorin a question whether he would like to leave a will, Pechorin replies that he has neither friends nor a beloved woman.” To be a good conversationalist, good friend and a family man, you need to have such qualities as nobility, sincerity, honesty. A noble man It's still hard to be. Does not seek high goals in life. He denies friendship and love, because he does not want to give something, but only wants to take. Pechorin had a person who could become his friend. This is Werner. “From that moment we distinguished each other in the crowd,” “We often came together and talked together about abstract subjects very seriously...” And yet Pechorin never departed from his principles and, again, consciously does not want to deepen and strengthen friendly relationship, although he trusts Werner and even sometimes opens his soul. “I went straight to Werner, found him at home and told him everything - my relationship with Vera and the princess and the conversation I overheard.” Pechorin is an independent person. "I feel this insatiable greed within me, devouring everything that comes my way; I look at the sufferings and joys of others only in relation to myself, as food that supports my mental strength ", "...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...”

Another reason for his loneliness is that he has a low opinion of people. “Friends who will forget me or, worse, tell God knows what kind of lies about me; women who, hugging another, will laugh at me, so as not to arouse in him jealousy for the deceased...”; “Here are the people! They are all like this: they know in advance all the bad sides of an action, they help, advise, even approve of it, seeing the impossibility of another means - and then they wash their hands and turn away with indignation from the one who had the courage to take on the entire burden of responsibility. They are all like that, even the kindest, the smartest!..”

He prefers the society of nature to human society. Pechorin is far from people. He is satisfied with his position in society.

But Pechorin needs society for self-affirmation, increasing his own self-esteem and self-esteem.

He does not strive to maintain warm, friendly relationships with people, since, basically, a person needs this to achieve goals and self-realization. But for Pechorin, in the process of self-realization, this need atrophied. "I run through my entire past in my memory and ask

myself involuntarily: why did I live? For what purpose was I born?..And, it’s true, it existed, and, it’s true, there was a high purpose for me, because I feel immense strength in my soul... But I didn’t guess this purpose, I was carried awayby the lures of empty and ungrateful passions; From their furnace I came out hard and cold as iron, but I lost forever the ardor of noble aspirations - the best color of life.”

The lack of love also contributed to the formation of his negative attitude towards people: “... if everyone loved me, I would find endless sources of love in myself,” “I felt good and evil deeply; no one caressed me...", "I was ready to love the whole world, - no one understood me: and I learned to hate you."

Lermontov in the story “Princess Mary” shows Pechorin’s relationship with two women, Mary and Vera. And they both love him. But does he strive to find life support and meaning in this love?

Fate brings Pechorin and Mary together in the Caucasus; she accidentally ends up in his orbit. Let us remember the scene when Grushnitsky talks about her to Pechorin, and he, seeing the look cast by Mary at Grushnitsky, felt a pang of envy and decided to start a game, the purpose of which he was not clearly aware of. The search for Mary's love was rather the main method of his struggle with Grushnitsky. He manipulates her, skillfully building intrigue; he takes pleasure in the fact that people behave the way he intended. He arouses her curiosity, appears before her in the role of a hero-savior, makes her fall in love with him, but cannot answer the question of why he is doing this.“I often ask myself why I am so stubbornly seeking the love of a young girl whom I do not want to seduce and whom I will never marry? Why this female coquetry? Vera loves me more than Prince Mary will ever love; If she seemed to me an invincible beauty, then perhaps I would have been attracted by the difficulty of the enterprise...

But nothing happened! Consequently, this is not that calm need for love that torments us in the first years of youth, throws us from one woman to another until we find one who cannot stand us: here begins our constancy - a true endless passion, which is mathematically possible you strike a line falling from a point into space; The secret of this infinity is only in the impossibility of achieving the goal, that is, the end.”

Perhaps this is due to the usual male desire to pursue a woman for the sake of interest.

In these reasonings there is an intoxication of power over people, and a feeling of one’s strength and exclusivity. Having encountered a serious feeling on the part of Mary, Pechorin interrupted the game, as serious and long relationship are not included in his plans. “I don’t love you,” he tells her.Pechorin deliberately abandoned it. And this is again his choice. For him life and human feelings- It's a game. He blocks the emerging feeling.

And before that, there is an entry in the diary that he tried in vain to find love for Mary in his soul and could not.

Having met Vera at this time, Pechorin surrenders to his true old love to her, and the more clearly he realizes the real nature of his feelings for Mary.

Most critics consider the image of faith to be insignificant.

“Vera is an interstitial face, not attractive in any way,” writes Shevyrev (p. 246). “...Vera’s face is elusive and vague, she adores Pechorin, his highest nature, and there is something slavish in this adoration,” writes V.G. Belinsky. Page 363

It seems to us that the critic Manuilov understands the meaning of the image of Vera more correctly: “Vera is truly an image of selfless, selfless love, transgressing the prohibitions of the environment.” (page 198)

Vera was ready to become a close and beloved person to him. But Pechorin deliberately refused this.

Pechorin loves Vera, this can be seen from the scene of their first meeting: “Here one of those conversations began between us that cannot be repeated... the meaning of sounds replaces and fills the meaning of words, as in Italian opera.” ().

The fact that he behaves differently with Vera than with others is certain: he fulfills all her requests, in a conversation with her he restrains his causticity, and rejoices at the changes in his soul.

When he makes a desperate attempt to catch up with Vera, we see a completely different Pechorin: “With the possibility of losing her forever, Vera became the most dear to me, more valuable than life, honor, happiness...", but then he mocks his feelings: "... if at that moment someone saw me, he would turn away with contempt... However, this may be due to upset nerves, a night spent without sleep, two minutes at the barrel of a gun and an empty stomach.”

Perhaps he does not want to connect his life with Vera and make the relationship deeper, because his love for Vera is self-centered. He is loved, he is pleased, it pleases his pride. “Now I want to be loved, but very little...” (p.)

Perhaps love for Vera cannot completely fill and subjugate Pechorin’s personality. “It will not lead to reconciliation with people and goodness: Pechorin does not look for revival in it...” (p. 199 Manuylov)

Pechorin may not be satisfied with Vera’s slavish obedience; she does not need to be conquered: “You know that I am your slave; I never knew how to resist you...” (p.). But he does not accept another type of relationship and speaks about it himself: “I must admit, I don’t like women with character... Only once did I love a woman with a strong will, whom I could not defeat in any way... We parted as enemies.”

Relationships with Vera reveal sides of his nature that are inaccessible to prying eyes, in which he approaches himself, not yet spoiled by the light.

But one way or another, Pechorin consciously does not want to bind himself with love and any obligations.

In relationships with people he allows himself to be manipulated.

“But there is immense pleasure in possessinga young, barely blossoming soul! She's like a flowerwhose best aroma evaporates towards the first ray of the sun; it must be torn off at this moment and, after breathingthey've had enough, throw them on the road: maybe someone will pick them up. I feel this insatiable greed within me, devouring everything that comes my way; I look at the sufferings and joys of others only in relation to myself, as food that supports my spiritual strength. I myself am no longer capable of going mad under the influence of passion; My ambition was suppressed by circumstances, but it manifested itself in a different form, for ambition is nothing more than a thirst for power, and my first pleasure is to subordinate to my will everything that surrounds me; to arouse feelings of love, devotion and fear - isn’t this the first sign and the greatest triumph of power?”

Pechorin does not consider love for Vera as a moral support in life. This does not correspond with his ideas about his own role and high purpose, which he tries in vain to unravel.

Pechorin does not want to give anything for love, to give himself to a loved one. He is fine alone; he is a loner by nature. The main thing for him is freedom, so he is lonely.

So loneliness strange man potentially significant in the novel. This is the story of the futile attempts of an extraordinary person to find at least some satisfaction to his needs, attempts that turn into suffering and loss. “This man does not bear his suffering indifferently, not apathetically: he madly chases after life, looking for it everywhere; he bitterly accuses himself of his errors...” (Belinsky p. 360). But he has no socially significant motivation; his internal position is one-sided.

Pechorin is close to the Decembrists in his potential heroic capabilities, and he is infinitely far from them in his real actions and fate.

It's not just a matter of time. Pechorin is a strong-willed nature, he does not delude himself about true value of their actions, reduced to secular and love affairs, but he does not show any internal impulses towards anything more significant, going beyond the boundaries outlined around him by the secular environment.

He revels in his power over people - this gives him significance in his own eyes, and for some minutes helps him find harmony.

Pechorin wants to be above everyone, so he does not consider friendship and love as a moral support in life.

Pechorin's selfishness and individualism are not innate qualities, but a consciously developed system of beliefs.

“Lermontov is not interested in the process of character formation, but in the final result of the development of the human personality, its ultimate capabilities, the last decisive battle with fate” (page Udodov 587)

For Lermontov, Pechorin is a person who, in terms of the totality of his human qualities, surpasses everyone he encounters in life, and is also very close to the author internally. But Pechorin did not satisfy Lermontov as an unconditional ideal.

Bibliography

1. Lermontov M.Yu. "Hero of our time"
2. Belinsky V.G. “Hero of our time.” Works by M. Lermontov,

M., "Children's literature", 1981

3. Literature 9th grade, ed. Ladygin’s article “Romanticism”, M.,

"Bustard", 1999

1. Manuilov V.A. Roman M.Yu. Lermontov "Hero of Our Time".

Motive
loneliness permeates all the lyrics
Lermontov. It sounds especially clearly in
novel “A Hero of Our Time”. Image
Pechorina is loneliness, both lyrical and
civil and universal.

Pechorin,
as a very extraordinary person, he was
dissatisfied with his rather dull
existence in the background, as it seemed to him, was not
a less dismal existence for the entire society.
Calm and measured life, assignment
everyday situations - all this put pressure on him
an irrepressible, action-hungry soul, on his
desire for new, higher
relationships between people in love, friendship,
civic duty. As a result of these
Pechorin himself began to create dreams on
his life path obstacles so
to overcome them. Such games with life
sometimes they could prove fatal. But
that didn't stop him.

In the air
At that time, the problem of “extra
person" and the best minds tried to find
answers to the questions: “How should we live?” and for
Why should I live?” Pechorin belongs
at the same time and to the type “ extra people”, and to
to those who are trying to somehow resolve this
problem.

Pechorin
marked by the demon of loneliness and this
manifests itself in everything. In his life he loved
only one woman - era. Love for her
brought him a lot of suffering. He suffered
even from the fact that he realized that Vera
unhappy in love with him. When feelings
gradually began to fade away, the demon
Pechorin reminded himself of loneliness again
began to try to resurrect the forever cooled
feelings and experiences. Of course he has
nothing came of it. He only purchased extra
suffering that gradually withered him
soul.

Pechorin was
a person subtle enough not to
understand that you are to blame for what is happening to you
him personally, as well as with people close to him. But
the reader sees that this is not only the fault
Pechorin, but rather his misfortune.

In his life
there were two more women - Bela and Princess
Mary. Each of these women could give
love for a harmonious man, distract him from
gloomy thoughts, in a word, to compose
human happiness. But Pechorin could no longer
not to play life, or rather, hide and seek with
own loneliness. In both cases
main, fatal role pride played a role. He
prudently tried to make Bela fall in love with him, but,
When I achieved this, I lost interest in her.
He spent a lot of time hunting, apparently.
hoping that this romance will dry up on its own.
But it only turned out to be new
suffering of a woman. Perhaps Pechorin and
tried, with the help of Bela, to find his place in
life, but all to no avail. Novel
Pechorin with Princess Mary also ended
suffering of a woman. In this tragic game
Grushnitsky, who
paid for his passion with his life. Pechorin,
pushed by the demon of loneliness,
involved everyone in his game more people. These
people quarreled among themselves, lost
orientation in life, made
ignoble actions. After all, Pechorin
consciously, unnoticed by Mary herself,
turned her against Grushnitsky. Next, in
duel “performance” this whole farce with
ran out of unloaded pistol
tragically: one of the participants in the duel became
a murderer, another a victim, a third dishonest
person.

But no matter how
strange, the image of Pechorin still evokes
sympathy from the reader. Probably because in
the hero of the novel is not quite dead yet
nobility and pity.

Pechorin
after another tragic turn in
his destiny goes to travel,
trying again to find answers to what tormented him
questions. Maybe he decided to do this in
hope to realize their noble
started. But in fact, it seems to me that he
just continued to run away from his
loneliness, with every new step
through life
approaching his own tragedy.

Demonic
loneliness in Russian literature is not
ended in Pechorin. In my opinion, in that
or to some other extent it manifested itself in such
literary heroes like Prince Andrei
Bolkonsky in L. N. Tolstoy’s novel “War and
peace” and others. These heroes are united by
my opinion, the desire for a bright, filled
noble events of life, but
circumstances, as well as their features
own character (self-love,
vanity) do not allow them to realize their
dreams.

The poet himself M.
Yu. Lermontov was wounded by this loneliness.
Already being a mature artist, he came to
in his work to “The Demon”, and maybe
not to the “Demon”, but through the “Demon” to the mighty
insatiable thirst full-blooded life, To
earthly multi-colored existence, spilled into
universe, and yet tragically
distant from him.

The very title of the novel suggests that Lermontov wanted to delve deeper into the social life of his time. The 30s of the 19th century, which replaced the time of the Decembrists, were the years of the Nikolaev reaction. The main problem of this novel is the fate of a thinking, talented...

M. Yu. Lermontov’s novel “Hero of Our Time” is the final work of the writer’s creativity. It reflected problems that deeply worried the author, as well as his contemporaries. Their range is extremely wide, this circumstance determined the deep and...

Expressing an attitude towards a particular person or artistic image, we primarily produce detailed analysis his actions and words. We strive to understand the motivation of his actions, the impulses of his soul, his conclusions, his attitude towards the world. If the sphere...

Lermontov's novel is a work born after the Decembrist era. An attempt by “one hundred warrant officers” to change social order in Russia turned into a tragedy for them. In “A Hero of Our Time,” the writer’s intense thoughts about common...

Essay by Lermontov M.Yu. - Hero of our time

Topic: - The tragedy of loneliness

Pechorin is marked by the demon of loneliness, and this manifests itself in everything. In his life he loved only one woman - Vera. His love for her brought him a lot of suffering. He even suffered from the fact that he realized that Vera was also unhappy in her love for him. When feelings gradually began to fade away, the demon of loneliness again reminded of himself and Pechorin began to try to resurrect forever cooled feelings and experiences. Of course, it didn't work out for him. He acquired only unnecessary suffering, which gradually dried up his soul.

Pechorin was a subtle enough person not to understand his guilt in what was happening to him personally, as well as to people close to him. But the reader sees that this is not only Pechorin’s fault, but rather his misfortune. There were two more women in his life - Bela and Princess Mary. Each of these women could give a harmonious man love, distract him from gloomy thoughts, in a word, create human happiness. But Pechorin could no longer help but play with life, or rather, hide and seek with his own loneliness. In both cases, pride played the main, fatal role. He calculatedly tried to make Bela fall in love with him, but when he achieved this, he lost interest in her. He deliberately spent a long time hunting, apparently hoping that this romance would dry up on its own. But this only resulted in new suffering for the woman. Perhaps Pechorin tried, with the help of Bela, to find his place in life, but to no avail. Pechorin's romance with Princess Mary also ended in the woman's suffering. Grushnitsky was also plunged into this tragic game of love, who paid for his passion with his life. Pechorin, pushed by the demon of loneliness, involved more and more people in his game. These people quarreled among themselves, lost direction in life, and committed ignoble acts. After all, Pechorin deliberately, unnoticed by Mary herself, turned her against Grushnitsky. Further, in the duel “performance” this whole farce with an unloaded pistol ended tragically: one of the participants in the duel became a murderer, another a victim, the third a dishonest person.

But oddly enough, the image of Pechorin still evokes sympathy among the reader. Probably because nobility and pity have not yet completely died out in the hero of the novel. Pechorin, after another tragic turn in his fate, sets off to travel, again trying to find answers to the questions that torment him. Perhaps he decided to do this in the hope of realizing his noble principles. But in fact, it seems to me, he only continued to run away from his loneliness, with every new step in life getting closer to his own tragedy.

Demonic loneliness in Russian literature did not end with Pechorin. In my opinion, to one degree or another it manifested itself in such literary heroes as Prince Andrei Bolkonsky in L. N. Tolstoy’s novel “War and Peace” and others. These heroes are united, in my opinion, by the desire for a bright life filled with noble events, but circumstances, as well as their own character traits (pride, vanity) do not allow them to realize their dreams.

The poet M. Yu. Lermontov himself was wounded by this loneliness. Already being a mature artist, he came in his work to the “Demon”, or maybe not to the “Demon”, but through the “Demon” to a powerful insatiable thirst for a full-blooded life, to the earthly multi-colored existence spilled in the universe, and yet tragically distant from him.

• Category: Arguments for the Unified State Exam essay

1. The problem of a person’s search for purpose and meaning in life.

2. The problem of loneliness.

“Bela” - Pechorin appears as a man who embodies contradictory qualities. He is a mystery to the reader, since the motives for his actions are still hidden. Described through the perception of Maxim Maksi-mych (a middle-aged staff captain, for many reasons unable to explain the character and actions of Pechorin). "Maksim Maksimych" - psychological picture Pechorina. Now the narrator, a more insightful person and closer to Pechorin, sees him. Pechorin's indifference to life, apathy, coldness, selfishness. “Taman” - opens Pechorin’s magazine. The hero is characterized by activity, a desire for action, an attraction to danger, self-control, love of nature, observation, self-irony - bright human qualities. “Princess Mary” - Pechorin and “ water society" Pechorin despises the “water society” for idleness, pettiness, lack of deep thought and serious studies.

It is empty, insignificant, hypocritical. He is endowed inner strength, the ability to see the essence of a person’s character, full of energy. Despite the extraordinary nature of his nature, Pechorin “did not guess his purpose,” that is, he did not find the meaning of life, business or feeling for which it is worth living and sacrificing oneself. Pechorin begins to play with other people's destinies and lives.

Composition.

The tragedy of loneliness based on the works of M. Lermontov

The motif of loneliness permeates all of Lermontov's lyrics. It sounds especially clearly in the novel “A Hero of Our Time.” The image of Pechorin is loneliness, both lyrical, civil, and universal.
Pechorin, as a very extraordinary person, was dissatisfied with his rather dull existence against the background, as it seemed to him, of the no less dull existence of the whole society. A calm and measured life, the given nature of everyday situations - all this put pressure on his irrepressible, action-hungry soul, on his desire for new, higher relationships between people in love, in friendship, in civic duty. As a result of these dreams, Pechorin himself began to create obstacles on his life path in order to overcome them. Such games with life could sometimes prove fatal for him. But that didn't stop him.
The problem of the “superfluous person” was already in the air at that time, and the best minds tried to find answers to the questions: “How should one live?” and “Why should I live?” Pechorin simultaneously belongs to the type of “superfluous people” and to those who are trying to somehow solve this problem.
Pechorin is marked by the demon of loneliness, and this manifests itself in everything. In his life he loved only one woman - Vera. His love for her brought him a lot of suffering. He even suffered from the fact that he realized that Vera was also unhappy in her love for him. When feelings gradually began to fade away, the demon of loneliness again reminded of himself and Pechorin began to try to resurrect forever cooled feelings and experiences. Of course, it didn't work out for him. He acquired only unnecessary suffering, which gradually dried up his soul.
Pechorin was a subtle enough person not to understand his guilt in what was happening to him personally, as well as to people close to him. But the reader sees that this is not only Pechorin’s fault, but rather his misfortune.
There were two more women in his life - Bela and Princess Mary. Each of these women could give a harmonious man love, distract him from gloomy thoughts, in a word, create human happiness. But Pechorin could no longer help but play with life, or rather, hide and seek with his own loneliness. In both cases, pride played the main, fatal role. He calculatedly tried to make Bela fall in love with him, but when he achieved this, he lost interest in her. He deliberately spent a long time hunting, apparently hoping that this romance would dry up on its own. But this only resulted in new suffering for the woman. Perhaps Pechorin tried, with the help of Bela, to find his place in life, but to no avail. Pechorin's romance with Princess Mary also ended in the woman's suffering. Grushnitsky was also plunged into this tragic game of love, who paid for his passion with his life. Pechorin, pushed by the demon of loneliness, involved more and more people in his game. These people quarreled among themselves, lost direction in life, and committed ignoble acts. After all, Pechorin deliberately, unnoticed by Mary herself, turned her against Grushnitsky. Further, in the duel “performance” this whole farce with an unloaded pistol ended tragically: one of the participants in the duel became a murderer, another a victim, the third a dishonest person.
But oddly enough, the image of Pechorin still evokes sympathy among the reader. Probably because nobility and pity have not yet completely died out in the hero of the novel.
Pechorin, after another tragic turn in his fate, sets off to travel, again trying to find answers to the questions that torment him. Perhaps he decided to do this in the hope of realizing his noble principles. But in fact, it seems to me, he only continued to run away from his loneliness, with every new step in life getting closer to his own tragedy.
Demonic loneliness in Russian literature did not end with Pechorin. In my opinion, to one degree or another it manifested itself in such literary heroes as Prince Andrei Bolkonsky in L.N. Tolstoy’s novel “War and Peace” and others. These heroes are united, in my opinion, by the desire for a bright life filled with noble events, but circumstances, as well as their own character traits (pride, vanity) do not allow them to realize their dreams.
The poet M. Yu. Lermontov himself was wounded by this loneliness. Already being a mature artist, he came in his work to the “Demon”, or maybe not to the “Demon”, but through the “Demon” to a powerful insatiable thirst for a full-blooded life, to the earthly multi-colored existence spilled in the universe, and yet tragically distant from him.