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What is striking in the portrait and behavior of Pechorin. Composition “General characteristics of the portrait of Pechorin (based on the novel “A Hero of Our Time”)

What is striking in the portrait and behavior of Pechorin. Composition “General characteristics of the portrait of Pechorin (based on the novel “A Hero of Our Time”)

06.04.2019

The novel "A Hero of Our Time" became a continuation of the theme of "superfluous people". This theme became central in A. S. Pushkin's novel in verse "Eugene Onegin". Herzen named Pechorin younger brother Onegin. In the preface to the novel, the author shows his attitude towards his hero. Like Pushkin in "Eugene Onegin" ("I'm always glad to see the difference between Onegin and me"), Lermontov ridiculed attempts to equate the novel's author and its protagonist.

Lermontov did not consider Pechorin goodie from which to take an example. The author emphasized that in the image of Pechorin, a portrait is given not of one person, but artistic type, which absorbed the features of a whole generation of young people at the beginning of the century. In Lermontov's novel A Hero of Our Time, a young man is shown suffering from his restlessness, in despair asking himself a painful question: “Why did I live. For what purpose was I born?” He has no inclination to follow the beaten path of secular young men. Pechorin is an officer. He serves, but is not served. Pechorin does not study music, does not study philosophy or military affairs. But we cannot but see that Pechorin is head and shoulders above the people around him, that he is smart, educated, talented, brave, energetic. We are repelled by Pechorin's indifference to people, his inability to true love, to friendship, his individualism and selfishness.

But Pechorin captivates us with a thirst for life, a desire for the best, the ability to critically evaluate our actions. He is deeply unsympathetic to us by the “pathetic actions”, the waste of his strength, by the actions by which he brings suffering to other people. But we see that he himself suffers deeply. The character of Pechorin is complex and contradictory. The hero of the novel says about himself: “There are two people in me: one lives in the full sense of the word, the other thinks and judges him…”. What are the reasons for this duality? ”I told the truth - they did not believe me: I began to deceive; knowing well the light and springs of society, I became skilled in the science of life ... ”- admits Pechorin. He learned to be secretive, vindictive, bilious, ambitious, became, in his words, moral cripple. Pechorin is an egoist. Belinsky also called Pushkin's Onegin "a suffering egoist" and "an unwitting egoist." The same can be said about Pechorin. Pechorin is characterized by disappointment in life, pessimism. He experiences a constant split spirit. In the socio-political conditions of the 30s of the 19th century, Pechorin cannot find a use for himself. He is wasted on petty adventures, exposes his forehead to Chechen bullets, seeks oblivion in love. But all this is just a search for some way out, just an attempt to unwind.

He is haunted by boredom and the consciousness that such a life is not worth living. Throughout the novel, Pechorin shows himself as a person who is accustomed to looking at "the suffering, joys of others only in relation to himself" - as "food" that supports his spiritual strength, it is on this path that he seeks solace from the boredom that haunts him, tries to fill the emptiness of your existence. And yet Pechorin is a richly gifted nature. He possesses analytical mind, his assessments of people and their actions are very accurate; he has a critical attitude not only to others, but also to himself. His diary is nothing but self-disclosure. He is endowed with a warm heart, able to feel deeply (Bela's death, a date with Vera) and experience a lot, although he tries to hide emotional experiences under the guise of indifference.

Indifference, callousness - a mask of self-defense. Pechorin is still a strong-willed, strong, active person, “life forces” are dormant in his chest, he is capable of action. But all his actions carry not a positive, but a negative charge, all his activities are aimed not at creation, but at destruction. In this, Pechorin is similar to the hero of the poem "The Demon". Indeed, in his appearance (especially at the beginning of the novel) there is something demonic, unsolved. In all the short stories that Lermontov combined in the novel, Pechorin appears before us as the destroyer of the lives and destinies of other people: because of him, the Circassian Bela is deprived of shelter and dies, Maxim Maksimovich is disappointed in friendship, Mary and Vera suffer, Grushnitsky dies from his hand, forced to leave home honest smugglers”, the young officer Vulich dies. Belinsky saw in Pechorin's character "a transitional state of the spirit, in which for a person everything old has been destroyed, but there is still no new, and in which a person is only the possibility of something real in the future and a perfect ghost in the present."

Pechorin was of medium height, slender, strong build. Quite a decent man, thirty years old. Despite his strong physique, he had "a small aristocratic hand." His gait was careless and lazy. He had a secret character. “His skin had a kind of feminine tenderness; blond hair, curly by nature, so picturesquely outlined his pale, noble forehead, on which, only after a long observation, traces of wrinkles could be noticed. Despite light color hair, his mustache and beard were black.

he had a slightly upturned nose, dazzling white teeth, and brown eyes. His eyes did not laugh when he laughed. Their brilliance was like that of "smooth steel", dazzling and cold. He was not very bad and had one of those "original physiognomies, which are especially liked by secular women." Pechorin - " inner man". His personality is dominated by the romantic complex inherent in Lermontov's heroes, dissatisfaction with reality, high anxiety and a hidden desire for a better life. Poetizing these qualities of Pechorin, his sharp critical thought, rebellious will and ability to fight, revealing his tragically forced loneliness, Lermontov also notes sharply negative, frank manifestations of Pechorin's individualism, without separating them from the personality of the hero as a whole. Pechorin's selfish individualism is clearly expressed in the novel.

The moral failure of Pechorin's behavior in relation to Bela, to Mary and to Maxim Maksimovich. Lermontov singles out the destructive processes taking place in Pechorin: his melancholy, fruitless throwing, crushing of interests. Comparing the "hero" of the era of Pechorin with those who could not at all claim this title - with the "natural man" Bela and with the "simple man" Maxim Maksimovich, devoid of Pechorin's intellect and his vigilance, we see not only intellectual superiority, but also spiritual trouble and incompleteness of the main character. Pechorin's personality in its egoistic manifestations, arising primarily from the conditions of the era, is not exempt from its individual responsibility, the court of conscience.

Pechorin treats people cruelly. So, for example: first he kidnaps Bela and tries to please her. But when Bela falls in love with Pechorin, he leaves her. Even after the death of Bela, he does not change his face and laughs in response to the consolation of Maxim Maksimovich.

After a long separation, a cold meeting with Maxim Maksimovich, who considers Pechorin his best friend, and is very upset by such an attitude towards himself.

With Princess Mary, he does almost the same - the same as with Bela. Just to have fun, he starts courting Mary. Seeing this, Grushnitsky challenges Pechorin to a duel, they shoot, and Pechorin kills Grushnitsky. After that, Mary confesses her love to Pechorin and asks to stay, but he coldly says: “I don’t love you.”

And the judgment leading to retribution is carried out on Pechorin, in which evil, breaking away in many respects from its “good” sources, destroys not only what it is directed at, but also his own personality, noble by nature and therefore unable to withstand its inner evil. Retribution falls on Pechorin from the people.

Researchers have repeatedly noted the detail, detail and psychologism of the portraits of characters created by M.Yu. Lermontov. B. M. Eikhenbaum wrote that the basis portrait painting The writer "laid a new idea of the relationship of a person's appearance with his character and psyche in general - a representation in which echoes of new philosophical and natural science theories are heard, which served as a support for early materialism."

Let's try to consider the portraits of the characters in the novel "A Hero of Our Time". Most detailed description appearance in the novel - a portrait of Pechorin, given in the perception of a passing officer. It gives a detailed description of the hero's physique, his clothes, face, gait, and each of these details of appearance can tell a lot about the hero. As V. V. Vinogradov notes, external details are interpreted by the author in physiological, social or psychological aspect, a kind of parallelism is established between the external and the internal.

So, aristocratic background Pechorin emphasize such details in his portrait as “pale, noble forehead”, “small aristocratic hand”, “teeth of dazzling whiteness”, black mustache and eyebrows, despite the light color of the hair. ABOUT physical strength Pechorin, his dexterity and endurance speak "broad shoulders" and "strong build, able to endure all the difficulties of nomadic life." The hero's gait is careless and lazy, but he does not have the habit of waving his arms, which indicates a certain secrecy of character.

But most of all, the narrator is struck by Pechorin's eyes, which "did not laugh when he laughed." And here the narrator already openly connects the portrait of the hero with his psychology: “This is a sign - or evil temper, or deep constant sadness, ”the narrator notes.

His cold, metallic look speaks about the insight, intelligence and at the same time indifference of the hero. “Because of the half-lowered eyelashes, they [the eyes] shone with some kind of phosphorescent sheen, so to speak. It was not a reflection of the heat of the soul or the playful imagination: it was a brilliance like the brilliance of smooth steel, dazzling, but cold, his gaze - short, but penetrating and heavy, left an unpleasant impression of an indiscreet question and could have seemed impudent, if not was so indifferently calm.

The inconsistency of Pechorin's nature is given out by the opposite features in his portrait: "strong build" and "nervous weakness" of the whole body, a cold, penetrating look - and a childish smile, an indefinite impression of the hero's age (at first glance, no more than twenty-three years old, upon closer acquaintance - thirty).

Thus, the composition of the portrait is built as if narrowing,< от более внешнего, физиологического к психологическому, характеристическому, от типического к индивидуальному»: от обрисовки телосложения, одежды, манер к обрисовке выражения лица, глаз и т.д.

Other characters are depicted in less detail in the novel. For example, a description of Maxim Maksimych's appearance: “After my cart, four bulls dragged another ... Her owner followed her, smoking from a small Kabardian pipe, trimmed in silver. He was wearing an officer's frock coat without an epaulet and a shaggy Circassian hat. He seemed about fifty; his swarthy complexion showed that he had long been familiar with the Transcaucasian sun, and his prematurely gray mustache did not match his firm gait and cheerful look.

Maxim Maksimych is a physically strong person, in good health, cheerful and hardy. This hero is simple-minded, sometimes awkward and seems ridiculous: “He did not stand on ceremony, he even hit me on the shoulder and twisted his mouth in the manner of a smile. Such a freak!" However, there is something childish in it: “... he looked at me with surprise, grunted something through his teeth and began to rummage through the suitcase; here he took out one notebook and threw it with contempt on the ground; then another, third and tenth had the same fate: there was something childish in his annoyance; I felt funny and sorry ... "

Maxim Maksimych is a simple army staff captain, he does not have Pechorin's insight, his intellect, his spiritual needs. However, this hero has good heart, youthful naivete, integrity of character, and the writer emphasizes these features, depicting his manners and behavior.

In the perception of Pechorin, the portrait of Grushnitsky is given in the novel. This is a portrait-essay that reveals not only the appearance of the hero, but also his manners, habits, lifestyle, character traits. Grushnitsky appears here as a certain human type. We meet such portraits-essays in Pushkin and Gogol. However, it is worth noting that all descriptions of Lermontov's appearance are accompanied by the author's commentary - the conclusions that the author makes when describing this or that detail of appearance (in this case, all conclusions are made by Pechorin). Pushkin and Gogol have no such comments. We find similar comments when depicting appearance in Tolstoy, however, Tolstoy does not comment on the initial portrait of the hero, but on dynamic descriptions of the character's states.

The portrait of Grushnitsky indirectly characterizes Pechorin himself, emphasizing his mind and insight, ability to understand human psychology and at the same time subjective perception.

“Grushnitsky is a cadet. He is only a year in the service, wears, in a special kind of smartness, a thick soldier's overcoat ... He is well-built, swarthy and black-haired; he looks to be twenty-five years old, although he is hardly twenty-one years old. He throws his head back when he speaks, and continually twists his mustache with his left hand, for with his right he leans on a crutch. He speaks quickly and pretentiously: he is one of those people who have ready-made pompous phrases for all occasions, who are simply not touched by the beautiful and who importantly drape themselves in extraordinary feelings, sublime passions and exceptional suffering. To produce an effect is their delight; romantic provincial women like them to the point of madness.

Here, first, the appearance of the hero is described, then his characteristic gestures, manners. Then Lermontov outlines Grushnitsky's character traits, emphasizing the general, typical in the character. In describing the appearance of the hero, Lermontov uses a mimic technique (“He throws his head back when he speaks and constantly twists his mustache with his left hand”), then used by Tolstoy (the jumping cheeks of Prince Vasily in the novel “War and Peace”).

In the mind of Pechorin, Grushnitsky is seen as a certain type of personality, in many respects the opposite of himself. And this is precisely the alignment of forces in the novel. Grushnitskaya, with his demonstrative disappointment, is a caricature, a parody of the main character. And this caricature of the image, the vulgarity of Grushnitsky's inner appearance is constantly emphasized in the description of his appearance. “Half an hour before the ball, Grushnitsky appeared to me in the full radiance of an army infantry uniform. Attached to the third button was a bronze chain from which hung a double lorgnette; epaulettes of incredible size were bent up in the form of cupid's wings; his boots creaked; in his left hand he held brown kid gloves and a cap, and with his right hand he fluffed a curled tuft of hair every minute into small curls.

If the first portrait of Grushnitsky is a detailed sketch of his appearance, behavior and character, then his second portrait is a concrete, fleeting impression of Pechorin. Despite the contempt he feels for Grushnitsky, Grigory Aleksandrovich here tries to be objective. However, it is worth noting that this is not always possible for him.

Grushnitsky is in many ways still a boy, following fashion, wanting to show off and in the heat of youthful passion. However, Pechorin (with his knowledge of human psychology) does not seem to notice this. He regards Grushnitsky as a serious opponent, while the latter is not one.

Gorgeous in the novel is the portrait of Dr. Werner, also given in the perception of Pechorin. “Werner was small, and thin, and weak as a child; one leg is shorter than the other, like Byron's; in comparison with the body, his head seemed huge: he cut his hair with a comb, and the irregularities of his skull, exposed in this way, would have struck a phrenologist with a strange interweaving of opposite inclinations.

Werner is neat, he has good taste: “Taste and neatness were noticeable in his clothes; his lean, sinewy, and small hands showed off in pale yellow gloves. His coat, tie and waistcoat were always black."

Werner is a skeptic and a materialist. Like many doctors, he often makes fun of his patients, but he is not cynical: Pechorin once saw him cry over a dying soldier. The doctor is well versed in female and male psychology, but he never uses his knowledge, unlike Pechorin. Werner evil tongue, his small black eyes, penetrating into the thoughts of the interlocutor, speak of his intelligence and insight.

However, with all his skepticism, evil mind, Werner is a poet in life, he is kind, noble, has a pure, childlike soul. With outward ugliness, the hero attracts with the nobility of the soul, moral purity, brilliant intellect. Lermontov notes that women fall in love with such men to the point of madness, preferring their ugliness to the beauty of "the freshest and pinkest endymons."

Thus, the portrait of Dr. Werner is also a portrait-essay that reveals the features of the hero's appearance, his character traits, his way of thinking, and behavior. This portrait indirectly characterizes Pechorin himself, conveying his powers of observation, his penchant for philosophical generalizations.

Great in romance and female portraits. So, the author “entrusts” the description of Bela’s appearance to Maxim Maksimych, who here becomes a poet: “And for sure, she was good: tall, thin, her eyes are black, like those of a mountain chamois, and looked into your soul.”

Remarkable and picturesque psychological picture"undines", given in the perception of Pechorin. In this description, the author appears as a true connoisseur female beauty. Reasoning here takes on the character of generalizations. The first impression made by this girl is charming: the extraordinary flexibility of the camp, "long Brown hair”, “golden tint of tanned skin”, “ correct nose", eyes, "gifted with magnetic power." But the "undine" is the assistant of the smugglers. Hiding the traces of her crimes, she tries to drown Pechorin. It has cunning and deceit, cruelty and determination unusual for women. These features are also conveyed in the description of the heroine's appearance: in her indirect glances - "something wild and suspicious", in her smile - "something indefinite". However, all the behavior of this girl, her mysterious speeches, her oddities remind Pechorin "Goethe's Mignon", and eludes him true essence"undines".

Thus, Lermontov appears before us as a true master of portraiture. The portraits created by the writer are detailed and detailed, the author is well versed in physiognomy and human psychology. However, these portraits are static, just as the characters themselves are static. Lermontov does not depict heroes in the dynamics of their mental states, in changing moods, feelings and impressions, but usually gives one big sketch of the character's appearance throughout the story. The static nature of the portraits distinguishes Lermontov from Tolstoy and brings him closer to Pushkin and Gogol.

"Hero of Our Time" - the most famous work M.Yu. Lermontov. At one time, it gained considerable fame, mainly due to its main character, Grigory Pechorin. Lermontov himself spoke of him as "a portrait, but not of one person: it is a portrait made up of the vices of our entire generation, in their development on the canvas." So who was Pechorin really - a villain or a unique person for his time?

The novel has five fragments, five episodes, stories, united by one common hero.

Each of them helps to better understand his nature, and in each one can be traced the most main feature Pechorin - inconsistency. Pechorin is contradictory: in love and life, in his thoughts and actions. He's like a demon work of the same name Lermontov - always rushing about and does not find peace.

Pechorin is bored with life. He is constantly looking for new entertainment and gets angry when he does not find it. For the sake of fulfilling his own whim, Pechorin is even ready to risk his life and not only his own. He destroys everyone who gets in his way. This happened to Bela, to Mary, to Grushnitsky. Their destinies were broken... And for what? A moment of peace of mind?

From this follows another feature of Pechorin - his egoism.

He understands that he makes others suffer, but does nothing to stop. On the contrary, for him it is another entertainment. Take the same Mary - Pechorin did not like, but achieved it only because he liked the difficulty of the task. And then the princess became uninteresting to him.

Yes, Pechorin can be called an egoist. But insensitive - never. Despite all his coldness and prudence, Pechorin was able to fall in love with Vera. But ironically, these feelings again bring only suffering.

So who is Pechorin? His personality is ambiguous. She evokes admiration and dislike. And this duality haunts Pechorin throughout his life, making him a man lost and suffering from his own throwings.

Updated: 2017-05-15

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Useful material on the topic

“There are two people in me: one lives in full
sense of the word, the other thinks and judges him;

"Hero of our time" is the first psychological novel in Russian literature, work. I found the most interesting main character novel - Pechorin, and I would like to focus on him. As for the other characters in the novel, all of them, it seems to me, only help to fully reveal the character of the protagonist.

The novel consists of five stories, each of which represents a stage in revealing the image of the protagonist. The desire to reveal the inner world of Pechorin was reflected in the composition of the novel. It begins, as it were, from the middle and is consistently brought to the end of Pechorin's life. Thus, the reader knows in advance that Pechorin's life is doomed to failure. I think that no one will doubt that it is Pechorin who is the hero of the time.

Pechorin is a typical young man of the 30s of the 19th century, educated, handsome and quite rich, dissatisfied with life and not seeing an opportunity for himself to be happy. Pechorin, unlike Pushkin Onegin, does not go with the flow, but is looking for his own path in life, he “furiously pursues life” and constantly argues with fate. He gets bored very quickly: new places, friends, women and hobbies are forgotten by him very quickly.

Lermontov gives a very detailed description of Pechorin's appearance, which allows him to reveal his character more deeply. This allows the reader to seem to see the hero in front of him, to look into his cold eyes that never laugh. His dark eyebrows and mustache with blond hair speak of originality and unusualness.
Pechorin is constantly on the road: he is going somewhere, looking for something. Lermontov constantly places his hero in different environments: either in the fortress, where he meets Maxim Maksimych and Bela, or in the environment of the "water society", or in the smugglers' shack. Even Pechorin dies on the way.

How to treat Lermontov to his hero? According to the author, Pechorin is "a portrait made up of the vices of his generation." The hero causes my blue-eyed sympathy, despite the fact that I do not like in him such qualities as selfishness, pride and disdain for others.

Pechorin, finding no other way out for his thirst for activity, plays with the fate of people, but this brings him neither joy nor happiness. Wherever Pechorin appears, he brings grief to people. He kills his friend Grushnitsky in a duel that happened because of stupidity. When he was exiled to the fortress for a duel, he meets Bela, the daughter of the local prince. Pechorin persuades her brother to kidnap his sister in exchange for a stolen horse. . He sincerely wanted to make Bela happy, but he simply cannot experience lasting feelings. They are replaced by boredom - his eternal enemy.

Having achieved the girl's love, he cools off towards her and actually becomes the culprit of her death. The situation is approximately the same with Princess Mary, whom, for the sake of entertainment, he makes her fall in love with him, knowing in advance that he does not need her. Because of him, Vera does not know happiness. He himself says: “How many times have I played the role of an ax in the hands of fate! Like an instrument of execution, I fell on the heads of doomed victims... My love brought happiness to no one, because I did not sacrifice anything for those whom I loved...”

Maxim Maksimych is also offended by him because he was cold when meeting him after a long separation. Maksim Maksimych is very devoted person and he sincerely considered Pechorin his friend.

The hero reaches out to people, but he does not find understanding in them. These people were far away in their spiritual development from him, they did not seek in life what he sought. .The trouble with Pechorin is that his independent self-consciousness and will turns into something more. He does not listen to anyone's opinion, he sees and accepts only his "I". Pechorin is bored with life, he is constantly looking for the thrill of sensations, does not find it and suffers from it. He is willing to risk everything to fulfill his own whim.

From the very beginning, Pechorin appears to readers as " a strange man". This is how the good-natured Maksim Maksimych says about him: “He was a nice fellow, I dare to assure you; only a little strange ... Yes, sir, he was very strange. The strangeness in the external and internal appearance of Pechorin is also emphasized by other characters in the novel. I think this is what attracts women in Pechorin. He is unusual, cheerful, handsome and also rich - the dream of any girl.

To understand the soul of the hero, how much he deserves reproach or worthy of sympathy, you need to carefully re-read this novel more than once. He has a lot good qualities. Firstly, Pechorin is a smart and educated person. . While judging others, he is also critical of himself. In his notes, he admits to such properties of his soul that no one knows about. Secondly, the fact that he has a poetic nature, subtly feeling nature, also has in favor of the hero. “The air is pure and fresh, like the kiss of a child; the sun is bright, the sky is blue - what would seem more? why are there passions, desires, regrets?..”

Secondly, Pechorin is brave and courageous man., which manifested itself during the duel. Despite his egoism, he knows how to truly love: to Vera, he feels completely sincere feelings. Contrary to his own statements, Pechorin can love, but his love is very complex. So, feeling for Vera with new force awakens when there is a danger of forever losing that the only woman who understood him. “With the opportunity to lose her forever, Vera became dearer to me than anything in the world - dearer than life, honor, happiness!” Pechorin admits. Even having lost Faith, he realized that the last ray of light in his life had gone out. But even after that, Pechorin did not break. He continued to consider himself the master of his fate, he wanted to take it into his hands, and this is noticeable in the final part of the novel - "The Fatalist".
Thirdly, nature gave him both a deep, sharp mind and a kind, sympathetic heart. He is capable of noble impulses and humane deeds. Who is to blame for the fact that all these qualities of Pechorin died? It seems to me that the society in which the hero was brought up and lived is to blame.

Pechorin himself said more than once that in the society in which he lives, there is no selfless love, no true friendship, no fair, humane relations between people. That is why Pechorin turned out to be a stranger to Maxim Maksimych.

Pechorin's personality is ambiguous and can be perceived with different points vision, cause dislike or sympathy. I think the main feature of his character is the inconsistency between feeling, thought and deed, opposition to circumstances and fate. His energy is poured into empty action, and actions are most often selfish and cruel. So it happened with Bela, whom he became interested in, kidnapped, and then began to be weary of her. With Maxim Maksimych, with whom he supported warm relationship as long as it was needed. With Mary, whom he forced to fall in love with himself out of pure selfishness. With Grushnitsky, whom he killed as if he had done something ordinary.

Lermontov focuses on the psychological disclosure of the image of his hero, raises the question of the moral responsibility of a person for the choice life path and for your actions. In my opinion, no one before Lermontov in Russian literature gave such a description of the human psyche.

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Psychological portrait of Pechorin (based on the novel by Lermontov "A Hero of Our Time")

Introduction

The image of the "hero of time", embodied in the lyrical element of Lermontov's poetry, in the novel "A Hero of Our Time" (1839) is revealed not only psychologically. Lermontov's novel is his attempt to analyze the state of modern society, to explore that moral atmosphere in which the sprouts of a new life ripen. Pechorin, the hero of his time, differs from all other characters in the novel in that he is the only one who knows how to take on the full burden of responsibility to judge not only the society around him, but also to be critical of himself. Lermontov presents the reader with the opportunity to explore various aspects of life in their relationship with fate. individual person, and consider the fate of a person against the background of socio-historical circumstances.

Lermontov, a psychologist, explores the processes of spiritual distortion of the personality by the environment, paying attention to the decisive, turning points in the life of the heroes of the event. This also applies to the images of simple, natural people - Kazbich, Bela, Maxim Maksimych, and "honest smugglers", and people of the Pechorin circle - Grushnitsky, Werner, Mary. Creating a psychological portrait of Pechorin, drawing the process of the hero’s internal hardening, Lermontov simultaneously creates the image of a “common man” - Maxim Maksimych - kind, sincere, devoted to Pechorin with all his heart. The reader unfolds the tragedy of a man who, by his behavior, justifies the immoral acts of Pechorin.

The study of Pechorin's personality in the "diary" chapters of the novel is built on the principle of mutual characteristics of characters. Grushnitsky and Werner are not only heroes with their own destiny and character, but also a kind of "mirror" reflection of Pechorin's personality. Lermontovsky Pechorin cognizes himself by studying and learning the personality of other people.

The image of Pechorin is revealed not only in action, deeds, but also in the characterization of the appearance of the hero. Lermontov creates an amazingly rich psychological pattern portrait of Pechorin's appearance. The portrait of the hero is created not only expressive, but also visual means. In the description of the plasticity of Pechorin's movements, his figure, the expression of his eyes, one can feel the look of Lermontov, an artist who perfectly mastered the painter's brush.

The composition of the novel plays essential role in the formation artistic intent Lermontov. The character of Pechorin in the first chapters of the novel is revealed from the outside, his personality is manifested in actions, in relation to him by other characters. In Pechorin's diary, we have a hero's confession, which explains many of his actions. The chronological sequence of events in the plot of the novel is replaced by the psychological sequence of "recognition" of the hero by the reader. In the novel "A Hero of Our Time" a deep psychological analysis intense spiritual life individual with an analytical depiction of the era of the late 30s, a period of moral loss and public disappointment.

Psichological portrait of Grigory Alexandrovich Pechorin

The fate of an individual, presented in Lermontov's novel, depicted in all its specific socio-historical, national conditionality and at the same time in the individual uniqueness of a sovereign, spiritually free tribal being, at the same time acquired a universal meaning.

Pechorin, it is said in the preface to the novel, is the type of "modern man", how the author "understands him" and how he "met him too often." At the same time, this is not a “mass-like” type, but a “typical exception”, a kind of “strange person”. Calling Pechorin the Onegin of his time, Belinsky paid tribute to the unsurpassed artistry of Pushkin's image: "Pechorin is the Onegin of our time", but at the same time he believed that "Pechorin is higher than Onegin in theory, however, this advantage belongs to our time, not Lermontov" .

Without justifying or accusing Pechorin, Belinsky notes that the “instinct of truth” is very strong in him, but that, due to the duality of his character, he does not stop at slandering himself and society. After weighing the merits and demerits of Pechorin’s character, Belinsky concludes: “But the court does not belong to us: for each person, the court is in his affairs and their consequences”

The validity of this thought of Belinsky is confirmed by the merciless trial of himself, which Pechorin conducts, weighing and evaluating the life he lived in vain: “... It was true that I had a high appointment ... But I did not guess my destination ... "In these words, Pechorin is the key to understand the causes of the tragedy of his generation of “smart useless things”, the tragedy of the Russian people of the post-Decembrist period.

Starting from the second half of the 19th century, the definition of “ extra person”, although neither Lermontov himself nor Belinsky gave him such a definition, primarily because such a term did not exist in their time. For them, Pechorin is “a hero of time, modern man, a strange man". The typological essence of the image of the “superfluous person” in Russian literature is interpreted very contradictory.

Herzen most accurately defined the meaning and specificity of the type of "superfluous person" for Russian society and Russian literature of the Nikolaev era. “The sad fate of a superfluous man, a lost man, only because he developed into a man, then appeared not only in poems and novels, but on the streets and in drawing rooms, in villages and cities. Our literary flankers are now poking fun at these weak dreamers who broke down without a fight, over these idle people who did not know how to find themselves in the environment in which they lived.

According to Herzen, Pechorin becomes “superfluous” because in his development he goes further than the majority, developing into a person, and to be exact, into a person, which, in the conditions of the impersonal reality of Nikolaev Russia, was, according to Herzen, “one of the most tragic situations in the world."

According to Lermontov, the tragedy of his time is not only that "people suffer patiently", but also that "the majority suffer without realizing it." In this sense, Pechorin captures an act of intensive development of public and personal self-consciousness in Russia in the 1930s. Belinsky wrote: “By introducing society to itself, that is, by developing self-consciousness in it, it satisfies its most important and most important need at the present moment.”

Lermontov's concept of personality expanded and deepened the possibilities artistic typification. Pechorin is a typical character, but of a special kind. On the one hand, he is the product of certain social circumstances, the environment, and in this sense he is a firmly defined social type of a “hero of his time”, on the other hand, as a personality with its extra-class value, he goes beyond the circumstances that gave rise to him, social roles, that is, beyond social type, generated by a certain era and a specific environment, acquiring universal significance. Pechorin's personality is wider, more holistic and redundant than that life content, which accommodates his social roles, his social status generally. The combination of certainty and elusiveness of not closeness in the personality and character of the hero Lermontov gave Belinsky reason to say: “He is hiding from us in the same incomplete and unsolved being as he appears to us at the beginning of the novel”

When the novel “A Hero of Our Time” came out of print, protective criticism, aware of the sharply negative assessment of Nicholas 1, assured readers that there was nothing Russian in the novel, that its “vicious” hero was written off by the author from Western European novelists. It got to the point that shortly after the fatal death of the poet, Baron E. Rosen expressed his "joy" about the fact that Lermontov was killed and would no longer write a "second Pechorin". In the reviews of such "critics" there were many half-hints and direct allusions to the fact that the author portrayed himself in the hero of the novel.

Is the "Hero of Our Time" social - undoubtedly, social - objectively and subjectively. Objectively, because all the actions of Pechorin's psychology are determined by time, the conditions of existence of his generation of the environment; many actions and character traits of Pechorin are dependent - to a greater or lesser extent - on public relations and mores, as he himself admits. Subjectively, because the social question is present in the novel as one of the objects of study. Near central figure sometimes “simple man” Maxim Maksimych, sometimes “children of the mountains”, sometimes “honest smugglers” are put - the social-experimental nature of this series of comparisons, it would seem, is beyond doubt.

And yet they do not exhaust the artistic task of the writer. The depth of the idea of the work lies in the fact that different sides social life are placed here in direct dependence on the person himself, as well as the fate of each individual person - on socio-historical circumstances.

Social motivation of mass deviations from humanity. From the highest moral ideals, Lermontov emphasizes with the help of his characteristic compositional technique. By creating close-up psychological portrait of Pechorin, the writer in monologues and diary retrospectively sketches a picture of the bitterness of the hero’s soul, but at the same time he creates the image of a “simple person”, on the one hand, correcting Pechorin’s behavior, as D.E. Maksimov rightly noted, and on the other hand, personifying his fate is the moral justification of Pechorin.

In general, "A Hero of Our Time" combined a philosophical concept with a lively analytical depiction of national life as deep moral and psychological contradictions.

The first readers of A Hero of Our Time were struck by the unusual nature of his art form. Belinsky was the first of the critics to establish how, from several stories, the reader gets "the impression of a whole novel." He sees the "secret" of this in the fact that Lermontov's novel "is a biography of one person." About the extraordinary artistic integrity of the novel, Belinsky says: “There is not a page, not a word, not a line that would be randomly sketched: here everything follows from one main idea and everything returns to it.” Modern researcher B.T. Udodov writes the following about the composition of the novel: “The composition of A Hero of Our Time is not linear, but concentric. And not only because everything in it gravitates towards one central character. All parts of the novel are not so much separate sides of a single whole as vicious circles containing the essence of the work in its entirety, but not in its entire depth. The superimposition of these circles on each other does not so much expand the scope of the narrative as deepen it.

There is a lot of controversy and the problem artistic method. This issue has been one of the most controversial for decades.

“In the study of Lermontov’s work,” I.E. Wooseok, the problem of his artistic method is one of the most difficult.” There are different points of view regarding the artistic method. So, B.M. Eikhenbaum, reflecting on the artistic evolution of Lermontov, wrote: “It is customary to speak in general terms that apply equally to Pushkin and Gogol “from romanticism to realism.” This formula is clearly insufficient... It turns out as if realism was the same destination for everyone - you just had to find a way to it, and romanticism was just an inevitable "passage" to this assembly point.

Disputes about the “Hero of Our Time” method flared up especially hotly at the V All-Union Lermontov Conference in 1962, where three reports were devoted to this topic at once. In one of them, the method was interpreted as realistic work(V.A. Maikov), in another - as realistic with elements of romanticism (U.R. Focht), in the third - as romantic (K.N. Grigoryan). Later, a work appeared in which an attempt was made to substantiate the fourth point of view on the method of the "Hero of Our Time" as a synthesis of romanticism and realism.

The very fact of the possibility of such heteroglossia and such contrasts, the presence of real, conspicuous disagreements in the work and creative method of Lermontov speak volumes. The real contradictions of reality gave rise to the artistic world of Lermontov.

Conclusion

The central place in the story is occupied by the psychological portrait of Pechorin, which emphasizes the inconsistency in the external and inner world hero.

Thus, we can conclude that Lermontov's novel "A Hero of Our Time" is dominated by romantic portraits, which is due to the creative method of the writer. The portrait of the main character Pechorin is psychological, which is due to the genre of the work. It is he who serves as a means of characterizing the hero along with other means of psychological analysis.

List of used literature

1. Belinsky V.G. Pushkin, Lermontov, Gogol. Elected. articles. M.: Det. Litra, 1970

2. Dolinina N. Pechorin and our time. L: Det. litera.», 1970

3. History of Russian literature. Ed. E.N. Kupreyanova, L. "Science", v. 2, 1981

4. Lermontov M.Yu. in Russian criticism. Collection of articles / Comp., intro. Art. And note. K.N. Lomunova. - M.: Sov. Russia, 1995

5. Rez Z.Ya. M.Yu. Lermontov at school. L .: Uchpedgiz, 1963

6. Udodov B.T.. Roman M.Yu. Lermontov "A Hero of Our Time". M.: Enlightenment, 1989