Of course, one of the most prominent writers of the nineteenth century is Mikhail Lermontov. "Hero of Our Time", the summary of which is notable for its inconsistency plot order action plot, is considered to be one of his most significant works. And there are reasons for this. The novel expresses the main thoughts that Lermontov feels towards the generation of his contemporaries. “A Hero of Our Time,” the summary of which is compositionally structured in such a way as to most fully reveal to us the character of the main character, gained integrity and completeness precisely thanks to this arrangement of parts of the work.
In the plot, that is, chronological, order, the stories should be arranged as follows: first “Taman”, then “Princess Mary”, followed by “Fatalist”, then “Bela”, followed by “Maksim Maksimych” and, finally, “ Preface to Pechorin's magazine. But the author chose to change the order of the story in order to make it easier for the reader to understand his thoughts. It was no coincidence that such a distorted order was chosen for of this work, because the genre psychological novel designed to show us the soul of the hero. Lermontov chose a suitable form for this. “A Hero of Our Time,” which has been analyzed more than once by many critics, is considered one of the most profound psychological novels even in our century.
So, the narrative begins with the chapter “Bela”, in which the narrator, on the way to Tiflis, meets a fellow traveler, Maxim Maksimych, who told him the story of his joint service with Grigory Pechorin in the Chechen guard fortress. The center of his memories becomes the story of how Pechorin, a young ensign, had his eye on the daughter of a local prince and cunningly abducted her with the help of her younger brother named Azamat. Having “tamed” the beauty and made her fall in love with him, the officer soon becomes tired of his relationship with her. Maxim Maksimych already then foresaw trouble. And in fact, Bela is kidnapped by Kazbich, who was left without a horse by Pechorin during the adventure, after which he kills the girl.
Next comes the chapter "Maxim Maksimych". The narrator witnesses a meeting between Grigory Pechorin and the staff captain, during which he writes psychological picture young man. Maxim Maksimych, angry with Grigory for his coldness, gives it to the narrator travel notes Pechorin, which make up most novel.
In the chapter “Taman”, Grigory himself already acts as the narrator, who arrives in the city of the same name and demonstrates his penchant for adventure, tracking down the night routes of a blind boy living “on the Vater”. Because of this, the hero almost dies in a fight with a girl, the smuggler’s assistant.
The chapter "Princess Mary" illustrates Pechorin's passion for experimentation and analysis of his actions. Grigory, out of stubbornness, decides to win the heart of an intelligent girl named Mary in order to hurt the pride of his friend Grushnitsky. In the end, a duel took place between them, in which the latter dies. In this chapter we can most clearly observe the hero’s stubbornness and his tendency to think, which Lermontov endowed his character with. “A Hero of Our Time,” a brief summary of which will help us understand the reasons for the character’s actions, gradually reveals to us the world of his soul.
In the last story, “Fatalist,” the author expresses his hope that all is not lost for his generation: Pechorin captures the Cossack killer. This concludes the novel that Lermontov wrote, “A Hero of Our Time.” Summary given psychological work should clarify the thoughts that the author put into it.
Features of the novel's plot
Any literary work has its own system of events, which reveals not only the characters of the characters, but also the attitude of the author himself to the phenomena and events he depicts - that is, the plot. In the novel “A Hero of Our Time,” the plot is determined by the plan of the entire system of stories, and this plan is to “unfold” step by step the history of the “human soul,” “especially when it is a consequence of observations of a mature mind over itself.”
How exactly does the author construct the plot? Let us listen to the opinion of the Russian critic V. Belinsky: “Mr. Lermontov’s novel is imbued with unity of thought, and therefore... it cannot be read in a manner other than the order in which the author himself arranged it: otherwise you will read two excellent stories and several excellent short stories, but not a novel you will know. There is not a page, not a word, not a line that was thrown by chance; here everything comes out of one main idea and everything returns to it.” That is why the chronological series of events described in the novel is disrupted - chronology is not important for the embodiment of the idea.
First, we learn about Pechorin in the story “Bela,” following the conversation of temporary fellow travelers, and then - the story told by Maxim Maksimych about a young Circassian woman and the role of the main character in her fate. We form the following idea about Pechorin by directly observing how Grigory behaves, how his character manifests itself externally - the narrator describes this in detail in the second chapter of the novel. And finally, from the journal written by the hero himself, we comprehend inner world Pechorin: his thoughts, feelings, aspirations.
With each subsequent story of “A Hero of Our Time,” our interest in the character of the main actor is increasing, because it is unlikely that Lermontov called a hero of the time a person with a vicious attitude towards people and a complete lack of attractive human qualities. Gradually you understand that it was in this order that the author placed the chapters of the work, and was able to consistently reveal the character of the hero in all its complexity, inconsistency and unpredictability. The plot of the novel “A Hero of Our Time” is subordinated to this idea.
The relationship between the plot and plot of “A Hero of Our Time”
Reading page by page, we can immediately notice: the temporal sequence of events in the novel differs from the order of the stories that Lermontov determined. “I’m going to the active detachment for official reasons,” Pechorin writes in his magazine in Taman, and chronologically it is this part that opens the story about the main character. It is followed by a story about Gregory’s stay on the waters and the morning after the duel, who received “an order from the highest authorities to go to fortress N.” Pechorin “happened” to leave “this boring fortress” and “live for two weeks in a Cossack village”; here he decides for himself the question of whether the fate of any person is predetermined. Continuing to serve in the fortress, Gregory kidnaps Bela. We trace Pechorin’s last movements by watching his meeting with the staff captain (“I’m going to Persia and beyond”) and reading the narrator’s preface to “Pechorin’s Journal” (“I recently learned that Pechorin died on his way back from Persia”).
Let's compare the chronological and authorial series of stories
In the plot, the stories are arranged in the following sequence: “Bela” - “Maxim Maximovich” - Preface to “Pechorin’s Journal” - “Taman” - Princess Mary - “Fatalist”.
The plot requires a temporal order: “Taman” - “Princess Mary” - “Fatalist” - “Bela” - “Maxim Maksimovich” - Preface to “Pechorin’s Journal”.
The plot and plot of the novel “A Hero of Our Time” thus do not coincide. Chronology, according to Lermontov, does not guide us towards understanding the character of the main character, and that is why it is not needed. And the construction of the plot not only makes it possible to understand the character of the main character, but at the same time encourages each reader to look into the depths of his own soul. Let us agree with A.N. Tolstoy: “Lermontov... in five stories connected by a single internal plot - the disclosure of the image of Pechorin, the hero of the time, the product of the era, reveals to us the perfection of real, wise... art. You read and feel: everything is here - no more and no less than what is needed and how can be said.”
Work test
Any literary work has its own system of events, which reveals not only the characters of the characters, but also the attitude of the author himself to the phenomena and events he depicts - that is, the plot. In the novel “A Hero of Our Time,” the plot is determined by the plan of the entire system of stories, and this plan is to “unfold” step by step the history of the “human soul,” “especially when it is a consequence of observations of a mature mind over itself.”
How exactly does the author construct the plot? Let us listen to the opinion of the Russian critic V. Belinsky: “Mr. Lermontov’s novel is imbued with unity of thought, and therefore... it cannot be read in a manner other than the order in which the author himself arranged it: otherwise you will read two excellent stories and several excellent short stories, but not a novel you will know. There is not a page, not a word, not a line that was thrown by chance; here everything comes out of one main idea and everything returns to it.” That is why the chronological series of events described in the novel is disrupted - chronology is not important for the embodiment of the idea.
First, we learn about Pechorin in the story “Bela”, following the conversation of temporary fellow travelers, and then - the story told by Maxim Maksimych about a young Circassian woman and the role of the main character in her fate. We form the following idea about Pechorin by directly observing how Grigory behaves, how his character manifests itself externally - the narrator describes this in detail in the second chapter of the novel. And finally, from the journal written by the hero himself, we comprehend Pechorin’s inner world: his thoughts, feelings, aspirations.
With each subsequent story of “A Hero of Our Time,” our interest in the character of the main character increases, because it is unlikely that Lermontov called a hero of the time a person with a vicious attitude towards people and a complete lack of attractive human qualities. Gradually you understand that it was in this order that the author placed the chapters of the work, and was able to consistently reveal the character of the hero in all its complexity, inconsistency and unpredictability. The plot of the novel “A Hero of Our Time” is subordinated to this idea.
The relationship between the plot and plot of “A Hero of Our Time”
Reading page by page, we can immediately notice: the temporal sequence of events in the novel differs from the order of the stories that Lermontov determined. “I’m going to the active detachment for official reasons,” Pechorin writes in the magazine in “Taman,” and chronologically it is this part that opens the story about the main character. It is followed by a story about Gregory’s stay on the waters and the morning after the duel, he received “an order from the highest authorities to go to fortress N.” Pechorin “happened” to leave “this boring fortress” and “live for two weeks in a Cossack village,” here he decides for himself the question of whether the fate of any person is predetermined. Continuing to serve in the fortress, Gregory kidnaps Bela. We trace Pechorin's last movements by watching his meeting with the staff captain and reading the narrator's preface to Pechorin's Journal.
Let's compare the chronological and authorial series of stories
In the plot, the stories are arranged in the following sequence: “Bela” – “Maxim Maksimovich” – Preface to “Pechorin’s Journal” – “Taman” – Princess Mary” – “Fatalist”.
The plot requires a temporal order: “Taman” - “Princess Mary” - “Fatalist” - “Bela” - “Maxim Maksimovich” - Preface to “Pechorin’s Journal”.
The plot and plot of the novel “A Hero of Our Time”, therefore, do not coincide. Chronology, according to Lermontov, does not guide us towards understanding the character of the main character, and that is why it is not needed. And the construction of the plot not only makes it possible to understand the character of the main character, but at the same time encourages each reader to look into the depths of his own soul. We agree with A.N. Tolstoy: “Lermontov. .. in five stories connected by a single internal plot - the disclosure of the image of Pechorin, the hero of the time, the product of the era, reveals to us the perfection of the real, the wise. .. art. You read and feel: everything is here – no more and no less than what is needed and how can be said.”
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HELP!!!
1) What is it called last story novel?
2) How many stories are there in Pechorin’s magazine?
3) Whose portrait is this: "...he had the most robber's face: small, dry, broad-shouldered... And he was as dexterous as a devil! The beshmet was always torn, in patches, and the weapon was in silver"?
4) Finish the phrase. “A Hero of Our Time,” my dear sirs, is like a portrait, but not of one person: it is a portrait made up of vices...”
5) Add the title of the story. The smuggler Yanko, the "undine", the blind boy are the heroes...
6) What did Grushnitsky drop at the well to attract Mary’s attention?
7) Why did Pechorin begin to court Princess Mary?
8) Who did Pechorin fight with in a duel?
9) What does the title of the story “Fatalist” mean?
11) Why was Maxim Maksimych offended by Pechorin?
12) Who did Vera love?
13) Which of the heroes of the novel sings the song: “Gold will buy four wives,
A dashing horse has no price"?
14) Did Maxim Maksimych and Princess Mary know each other?
15) “... these gentlemen, probably in a hurry, forgot to put a bullet in my pistol...” Whose pistol was not loaded during the duel?
I urgently need an essay on the story Dead Souls, on one of the topics: 1. Pechorin - a “suffering egoist” 2. The duel scene in the novel “Hero of Our Time” 3.Role female images in the novel "Hero of Our Time" 4. Features of the composition in the novel "Hero of Our Time"
1. Who is the author of “A Hero of Our Time”?2. On behalf of whom is the narrative told in “A Hero of Our Time”?
3. Who is Maxim Maksimych?
4. What is his title?
5. Who was Pechorin, what was his name and patronymic?
6. What did Kazbich and Azamat do for a living?
7. Who is Bela from “A Hero of Our Time”?
8. What were Pechorin’s feelings towards Bela?
9. How old was Bela?
10. Was her wound fatal?
11. If yes, how many days did Bela live after being wounded?
12. Who is to blame for what Bela experienced?
yourself
c) Pechorin’s conflict with Grushnitsky
2. Why did Lermontov need to disrupt the chronological sequence of the stories?
a) to show the development of the hero and his evolution
b) to reveal in Pechorin the core of his character, which does not depend on time
c) to show that Pechorin has been suffering from the same problems all his life
3.why does the novel have such a composition?
a) such a narrative system corresponds general principle compositions of the novel - from riddle to solution
b) such a composition allows you to diversify the narration
4.Can Pechorin be called a “superfluous person”?
a) he is superfluous for the society in which he lives, but not superfluous for his era - the era of analysis and search
b) Pechorin - "an extra person" primarily for himself
c) Pechorin is “superfluous” in all respects
5.positive or bad guy Pechorin
a) positive
b) negative
c) it’s impossible to say for sure
6. What are more similarities or differences in the characters of Onegin and Pechorin?
a) more similarities
b) there are similarities but many differences
c) this is perfect different tempers in different circumstances
7.why does Pechorin seek death at the end of his life?
a) he’s tired of life
b) out of cowardice
c) he realized that he had not found and would not find his high purpose in life
1. How does the image of Pechorin relate to other characters in the novel - Maxim Maksimych, Werner, Grushnitsky, Vulich? What are the qualities of the main character?manifest themselves in interaction with him?
2.What is the role of female characters in the novel “A Hero of Our Time”? Why do women loving Pechorin inevitably become victims own feelings? What prevents Pechorin from finding happiness in love and friendship?
3. What are the moral and philosophical results of Lermontov’s novel? What is the importance of the chapter "Fatalist" for clarifying the author's general idea? Is Pechorin a fatalist?
FABULA AND PLOT - what's the difference?
The plot is events arranged in their natural, chronological order, the way they could happen in reality.
The plot and plot may coincide, but often this does not happen.
A classic example is Lermontov's “Hero of Our Time.”
If the events described are arranged chronologically, it will look like this:
4 - I. Taman (“Taman”)
5 - II. Pyatigorsk - Kislovodsk (“Princess Mary”)
6 - III. Stanitsa (“Fatalist”)
1 - IV. Fortress (Bela)
2 - V. Vladikavkaz (“Maksim Maksimych”)
3 - VI. The Road from Persia (“Preface to Pechorin’s Journal”)
But in the novel the sequence of events is different:
IV - 1. “Bela” (fortress)
V - 2. “Maxim Maksimych” (Vladikavkaz)
VI - 3. “Preface to Pechorin’s Journal” (road from Persia)
I - 4. “Taman” (Taman)
II - 5. “Princess Mary” (Pyatigorsk - Kislovodsk)
III - 6. “Fatalist” (stanitsa)
The author deliberately violated the chronological sequence (for example, the death of the hero is reported almost at the beginning of the novel), some events are deliberately hushed up or reported in passing (for example, nothing is said about what Pechorin did after leaving Taman and before arriving in Pyatigorsk). In some episodes the pace of the story slows down, in others it deliberately speeds up. The author uses these techniques for one purpose - detailed development of the image of the main character.
The author draws the reader's attention to the development of the characters' characters, their actions, experiences, that is, to the interaction of characters and circumstances. What occurs is not a chronological, but a semantic concatenation of images.
TYPES OF STORIES
In general, if you look at the very root, there are not so many plots (=life situations).
Thus, Georges Polti reduced all life collisions to just 36 situations. (more details here http://www.kinocafe.ru/theory/?tid=51701)
However, their plot design gives countless combinations, due to which world literature still existed.
The classification of plots is based on the principle of relationships between events.
If events are correlated only in time, that is, first event A occurs, and then event B, then they speak of CHRONICAL STORIES.
If events also have a cause-and-effect relationship with each other (event A was the cause of event B), then this is a CONCENTRIC PLOT.
It sounds confusing, but there is an excellent – clarifying – example (taken from E.M. Forster's Aspects of the Novel).
The phrase “The king died and then the queen died” is an example of a newsreel plot.
And the phrase “The king died, and then the queen died - from grief” is a concentric plot.
CHRONICLE STORIES
Events are connected chronological order presentation, i.e., in essence, the plot coincides with the plot.
There is no clearly defined plot; the development of action is dominated by temporary motivations.
There is no central conflict, so the actions are not consistent. One conflict may give way to another.
Examples of such works are Homer’s “Iliad” and “Odyssey”, L. Tolstoy’s trilogy “Childhood”, “Adolescence”, “Youth”, M. Saltykov-Shchedrin “The History of a City”, D. Defoe “Robinson Crusoe”
CONCENTRIC STORIES
One comes to the fore life situation, the work is built on one event line.
Events are interconnected by cause-and-effect relationships and follow the logic of the development of the main conflict. Chronological connections may be broken.
The beginning and ending are easily distinguished.
Sometimes a third type of plot is distinguished - MULTILINEAR, in which several storylines. They can run parallel, intersecting with each other from time to time. The inclusion of a new line in a work is determined by cause-and-effect relationships.
Examples of such works are L. Tolstoy “Anna Karenina”, “War and Peace”, M. Sholokhov “ Quiet Don", J. Galsworthy "The Forsyte Saga"
So, the plot is the result of artistic intervention, creating a harmonious universe from events that nature left in a state of chaos (R. Moulton).
If the plot is not equal to the plot, they speak of reverse plot composition.
WHAT IS COMPOSITION?
Composition, also known as structure, also known as architectonics, is the arrangement of parts of a work in a certain order, which is intended by the author, and which, in his opinion, most effectively affects the reader.
Next, let us turn to M. Weller’s “Technology of Story,” where he highlights the following types compositions:
1. Direct flow composition
2. Banding.
3. Spot
4. Wicker composition.
5. Action-packed composition.
6. Detective composition.
7. Two-tailed composition.
8. Inversion composition.
9. Hinged composition.
10. Counterpoint.
11. Revolver composition.
You can read more here http://lib.rus.ec/b/133136/read#t4
In this article we will focus only on the type of composition that you will have to use in your competition work.
So,
7. Two-tailed composition.
Perhaps the most effective technique in constructing prose. In literature the first half of the 19th century century was encountered in this form: some event described turns out to be a dream, and then the work ends in a completely different way than the reader expected (Pushkin’s “The Undertaker”).
The most famous example is Ambrose Bierce's story "An Incident at Owl Creek Bridge":
the scout is hanged, the rope breaks, he falls into the water, escapes from shooting and persecution, after ordeals reaches his home - but all this only seemed to him in the last moments of his life, “his body swayed under the railing of the bridge.”
This construction is akin to the inquisitorial “torture by hope”: the condemned person is given the opportunity to escape, but at the last moment he falls into the arms of the jailers, waiting for him at the very exit to freedom. The reader tunes in to a successful outcome, empathizes with the hero, and there is a strong contrast between happy ending, which the narrative has already reached, and the tragic way it turns out to be in reality, gives rise to a huge emotional impact.
Here, at a key moment, the narrative bifurcates, and the reader is offered two options for continuation and ending: first, prosperous and happy, then they cross it out, declaring it an unfulfilled dream, and give the second, real one.
It is usually used to create a tragic tone, “bad endings,” although in principle it is possible the other way around - to establish a bright ending, completing events that are dark in color with a life-affirming episode from another time layer.
(c) M. Weller. Story technology.
© Copyright: Copyright Competition -K2, 2012
Certificate of publication No. 212072401163
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