The system of characters in Lermontov's novel "A Hero of Our Time" is called concentric, since all the characters gather around the main one - Pechorin, and serve only as a kind of background for him. The main task of each of them is not so much the manifestation of one's own character traits or feelings, but rather the emphasis on the individual qualities of Pechorin.
Heroes of the novel "A Hero of Our Time"
For example, Kazbich And Azamat in the chapter "Bel" they focus on the fact that Pechorin does not need anyone or anything. Kazbich and Azamat are solid natures, they have a specific goal: to get a horse. But Pechorin has no goal in life, he is only able to worry about an unpleasant society.
Task Maksim Maksimych- to emphasize the mind of Pechorin. Although this hero is quite observant and attentive (there is sometimes a narration on his behalf), he is not able to truly understand Pechorin, since he is obviously more stupid than him.
Dr. Werner, who was a second in a duel, sets off Pechorin's inability to be friends and be faithful. Pechorin has no friends, because he does not need anyone. He is selfish and arrogant, he is not capable of loyalty.
It is also worth noting here officer Vulich, with whom Pechorin argues about whether there is fate in the next world (chapter "Fatalist"). Vulich wants to shoot himself, but the gun misfires; later he still dies through the fault of a drunk, and Pechorin neutralizes this criminal, thereby saving own life. Consequently, Vulich resigned himself to his fate, and he was destined to die on that day. Pechorin told him that fate can be replayed. It turns out that Vulich sets off Pechorin's disobedience to fate.
Women's images are very important in the novel: Faith, Bela And Princess Mary. The stories associated with them show that Pechorin is no longer capable of true love. All three of his romantic "adventures" end very sadly: the married Vera leaves Pechorin and leaves with her husband, Bela dies, and due to the courtship of Princess Mary, a duel occurs between Pechorin and Grushnitsky. Pechorin kills his opponent, and for this he is exiled to the fortress. Thus, we see that love literally destroys both Pechorin himself, and the women he loves, and his rival (Grushnitsky).
Image Grushnitsky in the novel is especially interesting: he is a kind of parodic double of Pechorin, and this is precisely what irritates him so much. Grushnitsky trumps what is a shame for Pechorin - not wanting to make public his young age, he, explaining the position of ensign, calls himself demoted; in fact, Pechorin has been demoted, and is very ashamed of this. Lermontov concludes that such a double must be destroyed for the sake of the peaceful existence of Pechorin himself. This is what happens in their duel.
By building a system of characters in this way, Lermontov wanted to reveal the character of his protagonist as versatile as possible. The secondary characters are only means for this. In addition to using secondary characters to reveal the image of Pechorin, Lermontov also used
I'm incapable of friendship
of two friends, one is always the slave of the other,
though often none of them imagine
this is not recognized.
M. Yu. Lermontov. Hero of our time
I. Pechorin in the system of male images of the novel
After the main content of the novel has already been comprehended by the students, it is useful to conduct several practical lessons, in which the skills of analyzing the episode will be consolidated and the role of minor characters to understand the personality of Pechorin. This requires a comparison of the image of the main character with Maxim Maksimych, Grushnitsky, Werner, Vulich (in groups).Group 1. Pechorin and Maxim Maksimych.
1. What feelings did Pechorin's confession, beginning with the words "... I have an unhappy character," evoke in Maxim Maksimych? Prove that the emptiness of Pechorin's soul is the trend of the century.further...
2. How did Pechorin's attitude towards Maxim Maksimych manifest itself in the scene of their last meeting? In what ways does the author convey Maxim Maksimych's excitement and Pechorin's indifference?
3. How do Pechorin and Maxim Maksimych relate to each other? Choose to your thesis keywords and back each with a quote. (Maxim Maksimych - surprise, misunderstanding, love, sympathy, sincerity. Pechorin - indifference, indifference.) What is the role of the image of Maxim Maksimych in the novel?
Group 2. Pechorin and Grushnitsky.
1. How does Pechorin feel about Grushnitsky? Summarize your observations by analyzing the details of the portrait of Grushnitsky (fragments of entries dated May 11, 16, June 5, 6).2. What feelings did Pechorin evoke in Grushnitsky? Support your thoughts with quotes from the June 5, 12 entries and the duel scene. What can be said about the nobility and meanness of their characters in the duel scene? What is compositional role in the novel the image of Grushnitsky?
Group 3. Pechorin and Werner.
1. What is common in intellectual development and attitude to life in Pechorin and Werner? Confirm your position with quotes from their dialogue (recording of May 13).2. Analyze Werner's note to Pechorin after the duel and their last meeting. In what way did Pechorin turn out to be morally superior to Werner?
3. What is the role of the image of Werner in understanding the character of Pechorin?
Group 4. Pechorin and Vulich.
1. How was the character of each of the characters reflected in the scene of making a bet between Pechorin and Vulich? Why did Pechorin decide that Vulich did not value his life? Does Pechorin value life? What is the meaning of their comparison?2. Evaluate the behavior of Pechorin in the scene of the capture of a drunken Cossack. Why does Vulich still die, but Pechorin remains alive? What is the meaning of such an author's position?
3. What is the role of the image of Vulich in the novel?
At the end of the lesson, it is possible to draw up a plan comparative analysis male images novel or reference scheme.
A variant of the plan for the comparative characteristics of heroes
1. The place of heroes in the system of images (main - secondary, male - female, young - old, etc.) and their relationship.2. The past of the heroes (origin, upbringing, education, worldview).
3. The "speaking" meaning of their names and surnames and the circumstances of their first appearance in the work.
4. Portraits, their similarity, difference, evolution; whose eyes they are given.
5. The presence of landscapes and interiors associated with the hero (similarity - contrast).
6. Speech characteristics heroes; peculiarities internal monologues.
7. The actions of the heroes, revealing their character.
8. The function of dreams, meaning-forming artistic details.
9. Heroes in the evaluation of other characters (in the evaluation of each other, in self-esteem).
10. Direct or indirect ways the author's characteristics of the characters.
II. Friendship in the life of Pechorin
Lesson summaryThe male images of the novel are the twins and antipodes of Pechorin, but all of them are undoubtedly lower than him in intellect, their souls are less deep, weaker character they lack the capacity for introspection.
Homework
Taking advantage of the plan comparative characteristics heroes, compose a message on one of the topics: 1) Pechorin in the system of male images of the novel; 2) Comparative characteristics two male characters in the novel. Prepare a written response to problematic issue“Can Pechorin’s relationship with the male characters of the novel be called friendship?” (optionally). Note what is the innovation of the system of images of the comedy "Woe from Wit". a) compliance with the "role" system; b) the number of actors - more thantwenty; c) the principle of typification is put in the basis of the system of images; d) lack of division of characters into positive and negative; e) introduction of off-stage characters.
1. How does the image of Pechorin compare with other characters in the novel - Maxim Maksimych, Werner, Grushnitsky, Vulich? What are the qualities of the main characterappear in interaction with it?
2. What is the role female images in the novel "A Hero of Our Time"? Why do women loving Pechorin, inevitably become victims own feeling? 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 "The Fatalist" for clarifying the general idea of the author? Is Pechorin a fatalist?
A) compliance with the "role" system
B) quantity actors- more than twenty
C) the system of images is based on the principle of typification
D) lack of division of characters into positive and negative
D) introduction of off-stage characters
5. Correlate the comedy hero and the role to which he corresponds:
A) Chatsky
1) a father who is unaware of his daughter's love
B) Famusov
2) a lucky hero-lover
B) Sophia
3) soubrette
D) Lisa
4) the heroine of a love triangle
D) Molchalin
5) hero reasoner
6. Match the name of the hero and the role he plays in the comedy:
A) Khryumins, Tugoukhovskys, Khlestov
1) main characters
B) Prince Fedor, Kuzma Petrovich, Maxim Petrovich
2) minor
C) Chatsky, Sofia, Molchalin, Famusov
3) episodic
D) G.D.-G.N.
4) image-parody
D) Skalozub, Lisa, Zagoretsky, Gorich, Repetilov
5) off-stage characters
E) Repetilov
6) heroes. Necessary for the connection of the stage action
7. Mark the main means of creating satirical characters in comedy:
Individualization of language, aphorism, tragic pathos, author's remark, hyperbole, farcical details,
catharsis, phraseological units, dramatism, vernacular, irony, sarcasm.
8. Name the hero of the comedy "Woe from Wit", whose speech is aphoristic, the influence of the manner of speaking of other heroes is noticeable, the literary and colloquial forms of speech are intertwined, there are features of servility:
A) Molchalin B) Repetilov C) Zagoretsky D) Liza
9. Combine off-stage characters related to the "current century" and "past century":
Prince Fyodor, Maxim Petrovich, three of the boulevard faces, Tatyana Yurievna, Skalozub's cousin, Baron Von
Klotz, a Frenchman from Bordeaux, young people - "who travels, who lives in the countryside", Kuzma Petrovich, Sophia's aunt.
11. Where does Khlestova live:
A) on Tverskaya B) on the Kuznetsk bridge C) on Pokrovka D) at the Nikitsky gate
12. Whose portrait is this:
Curly! Hump of the shoulder blade!
Angry! All cat tricks!
How black! Yes, how terrible!
A) Khlestov
B) Princess Maria Alekseevna
B) Hryumina
D) arapki
1. The place of heroes in the system of images (main - secondary, male - female, young - old, etc.) and their relationship.
2. The past of the heroes (origin, upbringing, education, worldview).
3. The "speaking" meaning of their names and surnames and the circumstances of their first appearance in the work.
4. Portraits, their similarity, difference, evolution; whose eyes they are given.
5. The presence of landscapes and interiors associated with the hero (similarity - contrast).
6. Speech characteristics of the characters; features of internal monologues.
7. The actions of the heroes, revealing their character.
8. The function of dreams, meaningful artistic details.
9. Heroes in the evaluation of other characters (in the evaluation of each other, in self-esteem).
10. Direct or indirect ways of the author's characteristics of the characters.
In the novel, these characters are given for a specific purpose. Some of them can be a friend, someone is a double, someone is the antipode of Pechorin, and someone is a caricature of him.
- Determine the purpose of our lesson.
Pechorin and Maxim Maksimych.
Find out the hero by description. “He was wearing an officer's frock coat without epaulettes and a Circassian shaggy hat. He seemed to be in his fifties...
- Maksim Maksimych.
Conclusion. See the table in the presentation. Antipode.
Pechorin and Grushnitsky.
- Find out the hero by description: "...he looks to be twenty-five years old, although he is hardly twenty-one years old."
- Complete the phrases that characterize this hero: ".- their pleasure"
"...he does not know people and their weak strings, because he was engaged."
“his goal is….”
- Talk about appearance, character traits
- Remember which of the heroes spoke about whom: “I don’t like him either: I feel that we will someday collide with him on a narrow road, and one of us will be unhappy.”
- -.Just think that one of us will definitely be killed.
I wish it was you.
And I'm sure otherwise...
Tell us about the background of this event and the event itself.
An excerpt from the film (the moment when Grushnitsky says that he despises himself, but hates Pechorin)
Conclusion. Table in presentation. Doppelgänger caricature. “What is tragic in Pechorin is funny in Grushnitsky,” said Lotman
Pechorin and Werner.
- Recognize the hero by the description: "... one leg was shorter than the other, like Byron's"
- Talk about appearance, character traits
- Reread Werner's note to Pechorin after the duel and the description of their last meeting. In what Pechorin turned out to be morally superior to Werner
- Insert suitable words. “Here are the people! All of them: know in advance all the deed. him, seeing the impossibility of another means, and then from the one who had the courage to take on the whole burden of responsibility. All of them are
Conclusion. Table. Double.
Pechorin and Vulich.
- Recognize the hero by the description: "He was a Serb, as can be seen from his name"
- Talk about appearance, character traits
- Tell us about the bet between Pechorin and Vulich. Why did Pechorin decide that Vulich did not value his life?
- Does Pechorin value life? What meaning is revealed when comparing these images
- Complete the sentences: ... despite his composure, it seemed to me that I ...
May be,…………………
Conclusion. Table. Double.
Lesson conclusion. The students do.
Reflection.
Homework.
View document content
"Pechorin in the system of male images of the novel"
Maksim Maksimych
Grushnitsky
"Bela"
Maksim Maksimych
Grushnitsky
"Princess Mary"
Werner
"Fatalist"
Vulich
Friend
Double
Antipode
Caricature
Find out the hero by description
“He was wearing an officer's frock coat without epaulettes and a Circassian shaggy hat. He seemed to be in his fifties...
Where and when did you meet, what kind of relationship did you have then? Tell us about a story in which both were involved
Remember Pechorin's monologue from the chapter "Bel" with the words "I have an unhappy character." Why did Pechorin's confession surprise Maxim Maksimych?
Makim Maksimych
Pechorin
conservative, conscientious
energetic, very emotional, smart. His powers are not being used properly, forcing him to wander aimlessly around the world.
All turned to another person, open to meet him
The whole is closed in itself and does not sacrifice anything for another, even the smallest
Supports with everyone friendly relations. He expects from others the same kindness and participation that he shares himself.
He believes that in the world around him there is neither selfless, pure love, no true devoted friendship. That is why he rejects the kindness and participation of Maxim Maksimych.
antipodes
“…..he looks to be twenty-five years old, although he is hardly twenty-one years old.”
Complete the sentences describing this character
“……………..……..- their delight”
“..he doesn’t know people and their weak strings, because he was engaged in…………”
“his goal is……………….”
Talk about appearance, character traits
Who about whom?
"I don't like him either: I feel that someday we will collide with him on a narrow road, and one of us will be unhappy."
- I wish it was you.
- And I'm sure otherwise...
Double
Caricature
Pechorin
Common features: extreme egocentrism, ambition, narcissism
Grushnitsky
Is in conflict with society and with oneself
Is in harmony with himself and with society.
Can't find worthy job
“Producing an effect is their delight” (show activity)
Sincerity, depth of nature
Vicious, selfish nature.
Capable of meanness.
“What is tragic in Pechorin is funny in Grushnitsky.” Lotman
"... one leg was shorter than the other, like Byron's"
Talk about appearance, character traits
How and why does Pechorin call his relationship with Werner?
“We understood each other and became friends…”
I am not capable of friendship: of two friends, one is always the slave of the other ... I cannot be a slave, and in this case commanding is tedious work
Remember the dialogue between Pechorin and Werner in the entry dated May 13th. What is common in their intellectual development and attitude to life?
Tell us about a story in which both were involved.
Reread Werner's note to Pechorin after the duel and the description of their last meeting. In what way did Pechorin turn out to be morally superior to Werner?
Insert suitable words.
“Here are the people! All of them: know in advance all the deed.
him, seeing the impossibility of another means, and then from the one who had the courage to take on the whole burden of responsibility. All of them are
these are
bad sides
Help, advise, even approve
wash their hands and turn away indignantly
even the kindest
The cleverest!"
Double
Pechorin
Werner
In Pechorin, there are "two faces" of Werner - cynicism and sensitivity. Dr. Werner is a dual nature (he mocked the sick, but at the same time, true grief hit him in the very heart)
They hide their feelings and moods under the mask of irony and ridicule.
Participant
Observer
"I'm incapable of friendship"
Doesn't stand the test. After the duel they part.
"He was a Serb by birth, as was evident from his name"
Talk about appearance, character traits
Where and when did you meet, what kind of relationship did you have then?
Tell us about the bet between Pechorin and Vulich.
Why did Pechorin decide that Vulich did not value his life?
Does Pechorin value life? What meaning is revealed when comparing these images?
I affirm that there is no predestination
Complete the sentences….
… despite his composure, it seemed to me that I
- You will die today! I told him.
- May be,
read the seal of death on his pale face.
yes, maybe no……….
How can one evaluate Pechorin's behavior in the scene of the capture of a drunken Cossack?
Why does Vulich still die, but Pechorin remains alive?
Double
Vulich
Pechorin
The player constantly tempts fate
Does not believe in a higher power that controls the fate of people
"each of us has a fateful minute"
"I like to doubt everything ... I always go bolder when I don't know what awaits me ...."
fatalists... But
surrenders to the will of fate,
wants to control his own destiny
I understood):
I want
I know
Now
I will
Homework
Pechorin in the system of female images of the novel. Love in the life of Pechorin.
Lesson 34
Pechorin in the system artistic images novel. Pechorin and Maxim Maksimych. Pechorin and Grushnitsky. Pechorin and Werner
Target:
Show the image of Pechorin in the system of artistic images of the novel, in his relationship with Maxim Maksimych, Grushnitsky, Werner;
Develop analytical, associative and creative thinking, memory, speech;
To educate humanism and intolerance to egoism, individualism; shaping the reading culture of students.
During the classes
II . Update
1. Conversation
Describe the genre of the novel "A Hero of Our Time". What is its originality?
What are the features of the composition of the novel by M.Yu. Lermontov? What is the originality of its plot and plot?
What artistic tasks can be solved by such a composition?
How would you explain the meaning of the title of the novel?
Is there, in your opinion, the hero of our time with you?
III . Formation of new concepts and methods of action
1. Conversation
Today our lesson will be devoted to the main character of the novel M.Yu. Lermontov "A Hero of Our Time" - Grigory Alexandrovich Pechorin. And at the very beginning of the conversation, I would like to ask you: what associations does the name of the protagonist evoke in you? Is her choice random?
The surname of the protagonist of the novel reminds us of the Pechora River and thus associatively brings us to the image of Onegin - through the name of the Onega River. And this is no coincidence. That the image of Pechorin is focused on the image of Onegin, V.G. Belinsky (“this is the Onegin of our time”, “their dissimilarity among themselves is much less than the distance between Onega and Pechora”), and B.M. Eikhenbaum discovered that Pechorin was named Yevgeny in the manuscript of Princess Ligovskaya.
And, nevertheless, the image of Pechorin is deeply original and original; in addition to the features of the generation, it also contains a deeply personal, subjective principle inherent in the personality of the creator of Pechorin, that is, Lermontov himself. The image of Pechorin is as deep and deep as the Siberian river Pechora. However, the personality of the hero can become a disastrous dark abyss, the abyss of the deep-water Pechora, where some of the heroes of the novel drown and die, having set foot on the edge of this seemingly calm, but treacherous wide river.
And now I will ask you, based on the text of the novel, to give portrait description Pechorin. What is remarkable about his appearance?
Look at the portrait of Lermontov himself. What features of Pechorin's portrait did you see in it?
Lermontov really endows Pechorin with some features of his own appearance. Let's compare the portrait of the hero through the eyes of the author and the portrait of Lermontov himself in the image of I.S. Turgenev: some details strikingly coincide in these portraits. Here are the details in Pechorin's description: “There was something childish in his smile. (...) I must say a few more words about the eyes. First, they didn't laugh when he laughed! (...) his cold gaze - short, but penetrating and heavy, left an unpleasant impression of an indiscreet question, if it were not so indifferently calm.
And here is a portrait of Lermontov: “There was something sinister and tragic in Lermontov's appearance; some kind of gloomy and unkind force, thoughtful contempt and passion emanated from his swarthy face, from those large and motionless dark eyes. Their heavy gaze strangely disagreed with the expression of almost childishly tender and protruding lips. It is possible that Turgenev had a portrait of Pechorin in his head and, looking at Lermontov, unconsciously likened Lermontov to Pechorin. However, this similarity is significant. After all, Turgenev was a contemporary of Lermontov, and his assessment is an assessment based on fresh tracks, through the eyes of an eyewitness.
Now tell me which type literary heroes refers to Pechorin?
Pechorin -romantic Byronic hero (lonely, opposed to society, disappointed in life), this is a modification Byronic hero on Russian soil, which can be calleddemon type . The similarity of Pechorin and the Demon, the hero of the poem of the same name, is clearly traced.
Let's compare these heroes, and for clarity, we present our observations in the form of a table.
trait
Daemon
Pechorin
love of freedom
The craving for freedom made the Demon rebel against the power of God.
Pechorin's love of freedom is expressed in his unwillingness to become attached to one place or person.
disappointment in life
The demon over the past millennia managed to explore the entire universe, he was tired of absolutely everything, because he tried all kinds of activities many times.
Pechorin is satiated with the pleasures of life, he is not interested in anything after a stormy youth.
loneliness
The demon is cast down from heaven, but at the same time he did not join Satan. He is neither darkness nor light. It is difficult for him to get along with people because of belonging to another sphere - the Demon is a super-being endowed with mystical abilities and immortality
Pechorin by own will moved away from noble society, broke ties with his usual environment, having left for the Caucasus, and among secular people he is kept aloof. At the same time, he is not allowed to get close to ordinary people, due to origin
desire to overcome loneliness
Demon, unlike the standard romantic hero, tries to overcome his loneliness, looking for love, in which he hopes to find the meaning of life.
Pechorin, despite the sad experience, each time with hope strikes up a new relationship, although not a single one love story did not end well for him.
lack of conscious desire for evil and fatal coincidences leading to tragedy
The demon "sows evil without pleasure", because the atrocities bored him just like everything else in this world, however, even when his intentions have nothing to do with evil (love for Tamara), the ending is tragic (the Demon turns out to be guilty of death of Tamara, although he did not want this at all).
Pechorin does not focus on deliberately causing harm to people, however, most of his actions have Negative consequences(for example, having fallen in love with Bela, he separates the girl from her family and as a result becomes the culprit of her death; having met Grushnitsky, he eventually kills him in a duel, etc.).
attitude to the world as a theater of puppets, the position of the "puppeteer"
The demon considers people as a kind of "material" for playing out their own scenarios. He arranges the death of Tamara's fiancé, because he is interested in the girl, and is not inclined to perceive young man as an independently thinking and feeling being. Looking down on the world is largely due to the fact that the Demon has supernatural abilities.
Pechorin puts himself above all other people and believes that he has the right to interfere in someone else's fate, turning it according to his own understanding. Most a prime example"directing" the situation is presented in "Princess Mary", where Pechorin in literally plays with people like puppets, calculating their reaction in advance and pushing them to certain actions.
figure tragedy
The demon in the author's interpretation is not so much a villain as a victim of circumstances. His state of mind, disappointment in life, anger are dictated by isolation from all living things, which, in turn, is not the fault of the character himself, but the Creator, who doomed the Demon to eternal loneliness among angels, and among demons, and among people.
Pechorin is shown by the author as a tragic figure: his character is conditioned by time and social conditions. The fact that Pechorin does not find meaning in life is the result of the current social situation, which turns young nobles into "superfluous people."
As you can see, in addition to the undoubted similarities, there are some differences between the characters. The most important difference is that the Demon is an undeniably romantic figure, a super-being operating in mystical spheres and other worlds, and Pechorin is a common person, albeit with some features of a romantic character. In connection with belonging to the human race, the tragedy of Pechorin's existence is somewhat less pronounced than that of the Demon, because the Demon's suffering is aggravated by his immortality, while Pechorin has the opportunity to get rid of the torment with the advent of death.
Now let's look at the second component of this image - « extra person ». "Superfluous Man" 1830s - a nobleman, endowed with various virtues, but not finding his destiny, a victim of education, a product of society, not needed by society itself. Its difference from its predecessors, the “superfluous people” of the 1820s, lies in the fact that Pechorin embodies the next stage in the evolution of the type, in his life, in comparison, for example, with Pushkin's Onegin, more active actions (a trip to the Caucasus, a trip to Persia, participation in the war), but all this activity does not bring any result, Pechorin still feels worthless, and from a public point of view, his prospects are much more doubtful than those of Onegin, if only because the 1830s in Russia were marked by a decline in political activity after the defeat of the Decembrists, much greater pessimism and inertia in society, which cannot but affect people's lives.
Thus, Pechorin is dual character , combining romantic and realistic features. He is a romantic hero, but he is gradually debunked and overthrown from his pedestal, he is forced to act in real earthly conditions, and this forces him to change. It clearly shows the common type " extra person”, which existed in Russian reality during the first half of XIX V.
If we trace the evolution of the hero in accordance with chronological order events, then we will see a gradual debunking of the romantic component of the hero’s character and an increase realistic features, "reduction" of the image.
How does he appear before us in the chapter “Taman?
In the chapter "Taman" Pechorin is presented as a romantic young man, interested in secrets, experiencing a romantic love for the beautiful "undine". Only at the end of the story does he ask an atypical for a romantic question about the meaning of his actions, he questions the already realized romantic scenario from the point of view of reasonableness.
What is Pechorin in the chapter "Fatalist"?
Here Pechorin, while retaining the appearance of a romantic hero, begins to doubt the values \u200b\u200bunshakable for a romantic (rock, predestination), finding a rational explanation for mystical coincidences.
And how do we see him in the chapter "Bel"?
In the chapter “Bel”, Pechorin does not behave romantically enough in a romantic situation, his love ends in disappointment and boredom, and he hesitates instead of making a decision. There is already something to condemn him for - he ruined the fate of Bela because of a whim and became an indirect culprit of her death.
What impression does Pechorin make in the chapter "Maxim Maksimych"?
Pechorin makes a depressing impression on the traveler officer with his lethargy and apathy (“thirty-year-old Balzac coquette”), and his behavior, while maintaining external signs romanticism (principled loneliness, refusal to meet with an old friend), becomes repulsive and reprehensible.
And finally - what do we learn about the hero from the preface to Pechorin's Journal?
The hero dies, unable to withstand the collision with reality, having lost the incentive to further existence.
So, the fact becomes obvious that evolution is observed in Lermontov's interpretation of the romantic hero and his environment. The image of the hero is clearly reduced, falling into the critical sphere of the author's analysis and into the zone of real circumstances, the image of which is due to the anti-romantic trend of the era observed at that time in Russian literary process. Lermontov as " historical writer” stood on the verge of a gradually leaving past and a future being born. This also affected artistic method author of "A Hero of Our Time". The principles of realistic poetics become dominant in his artistic arsenal, but romantic poetics remains in Lermontov's creative arsenal as part of a new art system. It should be noted that Lermontov's fantasy is often correlated according to artistic function not with romantic "classics", but with the works of N.V. Gogol, the founder of " natural school».
2. Characteristics of the hero
And now, summarizing everything that has been said and relying on the text of the novel, give a description of Pechorin.
Teacher material
Pechorin is a strange, dual nature, and this strangeness clearly comes through in his entire appearance, contradictory even to an outsider's eye. He is removed from the people around him, feels as if above them. The hero is indifferent to people, their feelings, otherwise, with his coldness, he would not have offended Maxim Maksimych, who is so devoted to friendship with him.
On the other hand, Pechorin is merciless to himself. It is as if he is pointing a magnifying glass at his soul, and it appears before us without embellishment, without trying to hide something, smooth it over, give it in a more favorable light, for he confesses to himself, knowing that it is impossible to deceive himself: for this his mind too perceptive.
Pechorin is constantly reflecting, busy with constant self-digging, self-discipline - he is disturbed internal contradictions own aspirations and actions.
At the same time, Pechorin is insightful and sometimes sees through a person, foresees his thoughts and actions and, armed with this knowledge, invisibly directs the actions and actions of those around him, imposing his will on them and thereby reveling. Achieving power over the soul of Princess Mary, Pechorin foresees the development of events several moves ahead. And even dissatisfied with it - everything becomes boring: "I know all this by heart - that's what's boring!"
He accurately calculates Grushnitsky's behavior in a duel, arranging the circumstances at his own will in such a way that, in fact, deprives the enemy of the right to an aimed shot, and thereby putting himself in a more advantageous position, ensuring his own safety and at the same time the opportunity to dispose of life ex-boyfriend at your own discretion.
He is full of pride, conscious of his own superiority over those around him. But pride is always accompanied by an inferiority complex, they fight among themselves in a person’s soul, become his torment and constantly demand for themselves as food a fight with someone, a contradiction with someone, power over someone: “To be the cause of suffering for someone and joys, without having any positive right to it - is this not the sweetest food of our pride?
However, in order to expose one's vices so ruthlessly to oneself, as Pechorin does, one needs a special kind of courage. A person more often seeks to hide from himself something painful in his nature, in life - even to escape from reality into the world of intoxicating and mind-numbing dreams, fiction, pleasant self-deception. Sober self-esteem is often an additional cause of internal depression and torment. Pechorin becomes truly a hero of his time, for he does not hide from the present either in the past or in dreams of the future, he becomes an exception to the rule presented by Grushnitsky, this pompous deceiver of himself.
Pechorin is a hero. But his heroism is spiritual, not spiritual in nature. Reveling in his strength or tormented by inner torments, he does not humble himself at all even when he sees obvious weaknesses in himself, obvious falls, on the contrary: he is constantly inclined to self-justification, which is combined in his soul with severe despair. Pechorin is ready to shift the blame to the "bad community", but he does not at all seek to realize his guilt.
Pechorin becomes a kind of moral sadist, who finds particular pleasure in contemplating the mental anguish of those who entrusted their souls to him (primarily the women whose love he sought).
“... I loved for myself, for my own pleasure; I only satisfied the strange need of the heart, greedily absorbing their feelings, their tenderness, their joys and sufferings - and could never get enough. And what's the bottom line? - "... double hunger and despair remain!"
Like any person who is vaguely aware of his guilt in all his own (and not only his own) troubles and striving to justify himself at least to himself, and above all to himself, his conscience, Pechorin tries to find some mitigating circumstances for himself, if not complete deliverance from all accusations and reproaches of conscience. This cannot but push him to think about fate as a external force, which determines his actions and relieves him of at least some share of guilt.
vocabulary work
Fatalism- this is a belief in a predetermined, inevitable fate, independent of the will and actions of the person himself. Fatalism rejects personal will, human feelings and mind.
Fatalism might have had some interest for him. First of all, the existence of an immutable fate removes all responsibility from a person - and Pechorin is very inclined to this. But fatalism also gives rise to lack of will, inaction, hopelessness. And indeed, why fuss and wish for something when everything is determined by a faceless fate?
Therefore, the dispute that flared up between the characters of the story "The Fatalist" regarding predestination, for all participants, is explained by ordinary curiosity, but in Pechorin's soul he acquired the significance of the greatest importance. And the tendency to recognize the all-powerful fate wins. It is not for nothing that The Fatalist concludes the novel: it sums up, finally explaining all the mysteries of the hero's character.
Only at the very end does it become clear that cruel laughter with which the hero answered the consolations of Maxim Maksimych: it was the laughter of cold despair.
IV . Application. Formation of skills and abilities
1. Work in groups
The class is divided into four groups, each of which received an advanced task to prepare a report on one of the proposed topics, based on the text of the novel and textbook articles (pp. 154-162). Group messages are heard:
1 group - Pechorin and Maxim Maksimych;
group 2 - Pechorin and Grushnitsky;
group 3 - Pechorin and Dr. Werner;
group 4 - Pechorin and Vulich;
Group 5 - friendship in the life of Pechorin.
Teacher material
AttitudeTopast
Pechorin
Maxim Maksimovich
All the past is painful.
All the past is nice.
He cannot and does not want to calmly remember the past with Maxim Maksimych, especially the story with Bela.
Shared memories become the basis for the conversation that the staff captain is looking forward to with such impatience.
The past and the reminder of it causes pain in Pechorin's soul, as he cannot forgive himself for the story that ended with the death of Bela.
Memories of the past give Maxim Maksimych some significance: he was a participant in the same events as Pechorin.
Differences between heroes
Pechorin
Maksim Maksimovich
He tries to get to the very essence of everything, to understand the complexities of human nature, and, above all, his character.
Deprived of understanding common sense things, kind and simple-hearted.
Always trying to overcome circumstances.
Subdued by circumstances.
"Twins" Pechorin
Grushnitsky - caricature of Pechorin
We see Grushnitsky through the eyes of Pechorin, we evaluate his actions through the perception of Pechorin: Grushnitsky came to Pyatigorsk to "become the hero of the novel."
- "... He does not know people and their weak strings, because he has been busy with himself all his life",
He wears a fashionable mask of disappointed people, speaks in “pompous phrases”, “drapes himself importantly in extraordinary feelings, sublime passions and exceptional suffering. To produce the effect of his delight."
In his soul there is "not a penny of poetry."
Capable of meanness and deceit (duel with Pechorin).
- “I understood him, and for this he does not love me, although we outwardly are on the most friendly terms ... I don’t love him either: I feel that we will someday collide with him on a narrow road, and one of us will be unhappy ".
Next to Pechorin, Grushnitsky looks pathetic and ridiculous.
Grushnitsky is always trying to imitate someone.
Even on the verge of life and death, Grushnitsky's pride turns out to be stronger than honesty.
Werner - friend and "double" Pechorin
By definition, Pechorin is "a wonderful person." Werner and Pechorin "read each other in the soul."
He is "a skeptic and a materialist".
He is distinguished by a deep and sharp mind, insight and observation, knowledge of people.
Him kind heart(“weeping over a dying soldier”).
He hides his feelings and moods under the mask of irony and ridicule.
Werner and Pechorin cannot be friends , since Pechorin believes that “of two friends, one is always the slave of the other, although often neither of them admits this; I can’t be a slave, and in this case commanding is tedious work, because along with this you have to deceive ... "
Werner
Pechorin
similarity
Close spiritually and intellectually.
Hide the ability to love and compassion.
Learn indifference and selfishness.
They are afraid of the manifestation of normal human feelings.
They suppress everything human.
Differences
Witness of life, rather an observer of everything that happens from the outside.
Trying to understand the meaning and purpose of his life.
Grushnitsky
Pechorin
similarity
People of the same circle served together.
Differences
Poser, loves pompous phrases.
Dreams of being the hero of a novel.
Provincial romantic.
Chalk in their ambitions and desires.
Subtly feels other people, knows how to understand their condition and guess their actions.
Observant, able to analyze and draw conclusions.
Possesses subtle intuition.
Vulich - a player who constantly tempts fate. He seeks power over fate. His courage is explained by the fact that he is sure that the hour of his death is assigned to each person and it cannot be otherwise: "Each of us is assigned a fateful minute."
Pechorin - doesn't believe it exists high power that governs the actions of people. “It became funny to me when I remembered that there were once wise people who thought that the luminaries of heaven take part in our insignificant disputes for a piece of land or for some fictitious rights.”
“And how often do we take for conviction a deception of feelings or a mistake of reason! .. I like to doubt everything: this disposition of the mind does not interfere with the decisiveness of character; on the contrary, as far as I am concerned, I always go forward more boldly when I do not know what awaits me. After all, nothing worse than death will happen - and death cannot be avoided!
Vulich is trying to prove that fate exists, as opposed to free will, and he proves it in a rather strange way: by shooting himself in the temple. A misfire occurs. Although the gun was loaded, Vulich remains alive. Another shot he fired at the cap on the wall and pierced it through, according to Vulich, is undeniable proof that chance is fatally programmed.
The first oddity: all the participants in the dispute silently agree with Vulich, as if he had proved his case in the dispute with Pechorin, if only by the fact that he survived. The second oddity: Pechorin, who, in his argument with Vulich, opposes fatalism and defends free will, before Vulich has to pull the trigger, sees the seal of death on his pale face and declares: “You will die today!” It turns out that Pechorin acts here as a fatalist: the seal of death implies inevitable death, and fatalist Vulich Pechorin answers this: “Maybe yes, maybe no ...” - becoming at this moment an advocate of free will, for his words mean freedom of choice and the ambiguity of future events.
In other words, Vulich and Pechorin keep changing places, taking opposite ideological positions and not noticing their own inconsistency at all.
V . Information stage homework
2. Prepare the characteristics of the female images of the novel (in groups):
VI . Reflection stage
