Composition- this is the arrangement, the structure of the work.
The novel "A Hero of Our Time" consists of several stories that can be perceived as separate literary works. However, each of the components is an integral part of the whole.
The peculiarity of the composition is that the individual stories are arranged not in chronological order (ie, according to the plot), but in a completely different way. The plot, that is, the totality of events in their compositional sequence, does not coincide with the plot. Lermontov was one of the first in the literature to use this technique. For what purpose did he do it?
The plot, which does not coincide with the plot, helps to switch the reader's attention from the eventful, external side to the internal side, from the detective to the spiritual.
In "A Hero of Our Time" the "summit composition" characteristic of a romantic poem is recreated. The reader sees the hero only in tense, dramatic moments of his life. The gaps between them are not filled. We meet the hero in the fortress and in the last scene we also see him in the fortress - this creates the effect of a circular composition.
In various parts of the novel, we see the main character from the point of view of different characters: the narrator, Maxim Maksimych, Pechorin himself. Thus, the reader sees Pechorin from the positions of different people.
You can talk about the role of each story in the novel from different points of view: you can focus on the compositional role, you can - on the meaning in revealing the character of Pechorin, on his ability to act in various situations. We focus on the content of individual stories.
"Bela": Pechorin fulfills the romantic stereotype "natural love for a savage". Lermontov realistically debunks the accepted point of view that such love can be fruitful. Pechorin is shown through the eyes of the ingenuous Maxim Maksimych.
"Maxim Maksimych": Pechorin is drawn in his relationship with his old colleague Maxim Maksimych as a witness to his past: most likely, he was dry with Maxim Maksimych and hurried to part with him, because he did not want to awaken memories of the departed. The narrator tells about Pechorin - a young educated officer who has already heard the story about Bel.
"Pechorin's Journal": Pechorin himself tells about himself.
"Taman": Pechorin works out a romantic situation of falling in love with an “honest smuggler”, which ends badly for him. The peculiarity of the story is that it does not contain fragments of introspection, but there is a narrative that is close to colloquial speech (this is how Pechorin could tell his comrades about what happened to him). material from the site
"Princess Mary": the genre basis is a secular story, the co-existence in which, as a rule, is associated with a love affair in a secular society and the idea of rivalry between two men. Taman differs from the colloquial narrative style in detailed descriptions of the surroundings and detailed introspection (reflection), similar to the sharpness of the plot. It is a diary entry.
Contains a view of Pechorin from Werner's side, includes remarks from other characters (Vera, Mary, Grushnitsky), describing various manifestations of Pechorin's character.
"Fatalist": again we have the style of oral storytelling (as in "Taman"). The content of the story is an attempt to understand the driving forces of the world (rock, fate or the conscious will of a person).
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Mikhail Yuryevich Lermontov began work on his most famous novel, A Hero of Our Time, in 1838, and initially published parts of this work as separate stories. It was not until 1840 that A Hero of Our Time was published as a complete novel.
And it is this novel that can be called the first full-fledged socio-psychological work for Russian literature. This is due not only to the writer's desire to depict the tragic side of the 30s of the XIX century, but also to those artistic, innovative features that Lermontov's novel is rich in and the complexity of the composition.
Features of the novel
A distinctive feature of "A Hero of Our Time" is the unusual composition that the novel presents to readers. (). The narrators change throughout the story, and we see the complex and amazing nature of the protagonist through different eyes.
This allows at a high psychological level to understand the nature and personality of Pechorin, and to unravel his thoughts and the content of his inner world. This artistic feature makes the novel not only instructive and deep, but interesting and exciting.
Also in the "Hero of Our Time" the chronological sequence of events is violated, which cannot but be called a special artistic device of Lermontov. First, the author shows us the later period of Pechorin's life, then the reader learns about his death, and after Lermontov gives the words to Pechorin himself.
The title of the work speaks for itself, it fully reveals the idea of a talented writer. (). Lermontov wanted to create a full-fledged and detailed image of the hero of that time; in the history of one human soul, he included all the typical features, character traits and vices that were inherent in people of the post-Decembrist era.
For this reason, Pechorin's personality is so complex and contradictory, he can be selfish, cold and cruel, but there is no stricter judge for him than himself.
The complex and slightly confusing composition of the novel allows you to delve deeper and deeper into the life of the protagonist and understand his state of mind. And the change of narrators allows you to see his psychological portrait brighter and wider.
After all, the complexity of composition and artistic narration created by Lermontov fully corresponds to the complexity of the character of his hero, who is the key face of the entire novel.
The way the work is artistically constructed embodies Pechorin's logic, this is also the key to understanding his fate and personality.
The versatility of "A Hero of Our Time"
The versatility of the "Hero of Our Time" lies in the fact that, using the example of the controversial and peculiar personality of Pechorin, the author reveals many life-affirming topics.
Pechorin's life, the choices he made, his actions and behavior is a picture of the life of many people of that time, saturated with a wide variety of colors.
And Lermontov's mastery lies in the fact that he does not simply describe reality, he psychologically reveals the causes and consequences of Pechorin's character traits, he raises important and urgent problems of society through the personality of such a peculiar hero.
The theme of individual freedom resounds relentlessly in Pechorin's thoughts, and by his example the author argues that the struggle for freedom must continue regardless of the circumstances.
But Pechorin's contradiction lies in the fact that he continues this tough struggle without any humanistic ideals that could calm and please his heart.
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The novel "A Hero of Our Time", written by M. Yu. Lermontov, is considered the first lyric-psychological novel in Russian literature. Readers of that time believed that the character traits of Lermontov himself were embodied in the image of Pechorin. But the author strove to create a portrait of a contemporary, as he himself admits, “it was just fun to draw a modern person as he understands him, and, unfortunately, I met him and yours too often. It will also be that the disease is indicated, but God knows how to cure it!
Structure of the novel
The composition of the novel is far from classical. The classical structure of a literary work consists of a prologue (preface), an exposition, an outset, main actions, a climax, a denouement, and an epilogue. There is also a chronological order. In the novel "A Hero of Our Time" the composition is multicomponent, that is, it has several plots, expositions, climaxes and denouements. The chronology of events is also broken. There is a prologue in the novel. In it, Lermontov tries to explain the purpose of writing his novel. This is a kind of dialogue with the reader. The novel is divided into 5 parts.
Part one
In the 1st part of the 3rd chapter. The link is the story of the author's trip and his acquaintance with Maxim Maksimych. Along with Pechorin, this is a key figure in helping to understand the image of the protagonist of the novel.
Chapter 1. Bela.
In this part, Lermontov begins the story on his own behalf, tells about a trip along the Georgian Military Highway, about his acquaintance with Staff Captain Maxim Maksimych. This part of the story is the exposition. And then he gives the floor to this old servant, and he tells about his acquaintance with Pechorin and the story of his love with Bela. With the story of Maxim Maksimych about Pechorin, the plot of this chapter and the whole novel begins. The action of the chapter develops from the moment of Bela's abduction and her appearance in Pechorin's house. The culmination is the abduction of Bela by Kazbich, her injury and death. Pechorin experienced the death of a girl, probably blamed himself for what had happened.
Chapter 2
Exposition - the author arrives in Vladikavkaz and learns that he will have to stay here for 3 days, waiting for an opportunity. He decides to record a story about Bela. The plot - the next day a wagon arrives with Maxim Maksimych. The development of the action - Maxim Maksimych learns about the arrival of Pechorin, is waiting for him. The author sees Pechorin, describes his controversial appearance. The climax is the meeting of Maxim Maksimych with Pechorin, resentment. The denouement - the author receives Pechorin's notebooks and leaves on the same day, parting with the distressed Maxim Maksimych.
Pechorin's Journal
Lermontov did not number the chapter "Pechorin's Journal" like the first 2 chapters. Lermontov singled out Pechorin's Notes. Thus, Pechorin's journal is a book within a book. This new book, begun in the first part of the novel, is preceded by a preface in which Lermontov explains the reason for his desire to publish the Pechorin notes. "Pechorin's Journal" begins with the first chapter, which only emphasizes the nesting of one work into another.
In the "Journal" the narration is conducted on behalf of Pechorin. Chronologically, it goes back.
Chapter 1. Taman
The chapter tells about the adventures of the protagonist in Taman. Here fate brought him to the smugglers. The exposition is the arrival of Pechorin in Taman and the search for an apartment. The plot of the plot from the moment of his acquaintance with the Blind. Events begin to develop with the appearance of a girl on the roof. The climax is the moment when the girl lured Pechorin and tried to drown him. But the man was stronger. Overboard was Undine. The child of the sea did not drown. The denouement - Pechorin leaves the town of smugglers - Taman. This is where the first part ends.
Part two
The continuation of Pechorin's journal, or rather, its end, is in the second part of the novel. Part two begins with the second chapter, continuing Pechorin's Journal, which is called Princess Mary.
Princess Mary
This part of the story is full of drama. The story of Princess Mary can be considered the climax of the novel. The main characters of this story: Pechorin, Grushnitsky, Princess Mary. Heroes of the second plan - Vera, Dr. Werner, captain. The heroes of the third plan are Mary's mother, Vera's husband, Mary's admirers, the captain's comrades.
The exposition of the novel is the arrival of Pechorin in Pyatigorsk, and the morning exit to the city. The plot of the plot begins with a meeting with Grushnitsky, who introduces Princess Pechorin and Princess Ligovsky.
Events begin to develop from the moment when Pechorin protects Princess Mary from a drunken captain. The captain is angry with Pechorin and decides to take revenge on him, but to take revenge with the hands of Grushnitsky. The duel, Mary's illness and Vera's confession to her husband are the culmination of the story. The denouement is also filled with drama. Vera leaves, and Pechorin drives his horse, trying to catch up with her. Princess Ligovskaya offers Pechorin to marry his daughter, which he refuses, and confesses to Mary that he never loved her.
The story of Princess Mary was recorded in the fortress, therefore, its events took place before Pechorin met Bela.
Fatalist
And finally, the third chapter of the Fatalist magazine. The events of this narrative also developed before the meeting with Bela, but when Pechorin served with Maxim Maksimych. At the end of the novel, the reader once again meets this wonderful and simple-hearted staff captain. In this story, Pechorin is not the main character. He is in the background, although he is involved in a dispute with Vulich, one of the officers, becomes a witness to his death and then disarms the Cossack. In the foreground in this story are the Serb Vulich and the drunken Cossack. The climax of this chapter of the novel is Vulich's shot and misfire. But the development of the action continues until the arrest of the Cossack who hacked to death the Serb. The denouement is the return of Pechorin to the fortress and a conversation with Maxim Maksimych about predestination.
Conclusion
Thus, the composition of the novel "A Hero of Our Time" has several characteristic features:
- violation of chronology;
- nesting one narrative into another;
- several narrators: the author, Maksim Maksimych, and Pechorin himself.
The composition of the novel is subordinated to the task of the most complete disclosure of the character and inner world of the protagonist. After reading the novel, one cannot but agree with V.G. Belinsky, who believed that "this is not a collection of several stories and short stories, but a novel in which there is one main character and one main idea."
Features of the composition of the novel "A Hero of Our Time" come from the fact that the novel by M.Yu. Lermontov became an advanced work of its time: in it the author used a new genre of a psychologically oriented novel, a new image of the protagonist and, accordingly, a new compositional articulation of the work.
The author himself, after the publication of his novel in its finished form, admitted that not a single word, not a single line in it arose by chance, everything written was subordinated to one main goal - to show readers their contemporary - a man with noble and bad inclinations, who, obeying the feeling self-love, he was able to realize in life only his vices, and his virtues remained only good desires.
When the novel was just published, critics and ordinary readers had a lot of questions that related to the compositional division of this work. We will try to consider the main of these issues.
Why was the chronology of the presentation of the episodes of the main character's life broken?
The features of the composition of "A Hero of Our Time" are related to the fact that we learn about the life of the protagonist in a very inconsistent way. The first part of the novel tells how Pechorin kidnapped the Circassian Bela from his own father, made her his mistress, and later lost interest in this girl. As a result of a tragic accident, Bela was killed by the Circassian Kazbich, who was in love with her.
In the second part, entitled "Maxim Maksimovich", readers will learn that several years have passed since the death of Bela, Pechorin decided to go to Persia and died on the way there. From Pechorin's diary, it becomes known about the events that happened to the main character before meeting Bela: Pechorin got into a funny adventure with smugglers on Taman and in the city of Kislovodsk he met the young Princess Mary Ligovskaya, whom, unwittingly, fell in love with himself, and then refused to share her feelings. There was also a duel between Pechorin and Grushnitsky, as a result of which the latter was killed.
The novel "A Hero of Our Time" ends with the part "Fatalist", which tells about a private episode from the life of Pechorin.
Studying the plot and composition of "A Hero of Our Time", literary critics agree that the author violated the chronological presentation of the main character's life in order, on the one hand, to emphasize the chaotic life of Pechorin, his inability to subordinate his fate to one main idea, on the other hand, Lermontov tried to reveal the image of his main character gradually: at first, readers saw him from the side through the eyes of Maxim Maksimovich and the narrator-officer, and then only got acquainted with Pechorin's personal diary, in which he was extremely frank.
What is the relationship between plot and plot in a novel?
The innovation of Lermontov as a prose writer contributed to the fact that the plot and plot of the novel "A Hero of Our Time" do not coincide with each other. This leads to the fact that the reader pays more attention not to the external outline of events from the life of the protagonist, but to his inner experiences. Literary critics have dubbed this method of constructing a work “tense composition”, when readers see the heroes of the novel at the peak moments of their fate.
Therefore, the composition of Lermontov's "Hero of Our Time" is a unique phenomenon in the history of Russian literature: the author talks about key episodes from the life of his hero, giving him a description precisely at the moments of the highest life trials: these are Pechorin's love experiences, his duel with Grushnitsky, his skirmish with drunken Cossack, his dangerous adventure with smugglers on Taman.
In addition, Lermontov resorts to the reception of a ring composition: for the first time we meet Pechorin in the fortress in which he serves with Maxim Maksimovich, the last time we see the hero in the same fortress, before he leaves for Persia.
How does the compositional division of a work help to reveal the image of the protagonist?
According to most literary critics, the originality of the compositional solution of the novel helps to consider in detail the image of Pechorin.
In the first part of Bela, Pechorin's personality is shown through the eyes of his commander, the kind and honest Maxim Maksimovich. The author debunks the myth of beautiful love between a savage woman and a young educated nobleman that existed in the literature of that time. Pechorin does not in any way correspond to the image of a young romantic hero, which was created in the works of the writer's contemporaries.
In the second part of "Maxim Maksimovich" we meet a more detailed description of the personality of the protagonist. Pechorin is described through the eyes of the narrator. Readers get an idea of the character's appearance and behavior. The romantic halo around Grigory Alexandrovich flutters completely.
In "Taman" Lermontov refutes the myth of romantic love between a girl engaged in smuggling activities and a young officer. A young smuggler with the romantic name Ondine does not behave at all sublimely, she is ready to kill Pechorin only because he turned out to be an unwitting witness to her crime. Pechorin is also characterized in this part as a man of an adventurous warehouse, ready for anything to satisfy his own desires.
Part "Princess Mary" is built on the principle of a secular story: it has a love story and a conflict between two officers for possession of the girl's heart, which ends tragically. In this part, the image of Pechorin receives a complete realistic characterization: readers see all the external actions of the hero and the secret movements of his soul.
In the last part of the novel The Fatalist, Lermontov poses the most important questions for him about the meaning of human life on earth: is a person the master of his own destiny or is he led by some kind of evil fate; is it possible to cheat one's fate or is it impossible, etc.? In the last part, Pechorin appears before us in the form of a man who is ready to fight fate. However, readers understand that this struggle will eventually lead him to an early death.
The role of composition in the novel "A Hero of Our Time" is very important. It is thanks to the unusual compositional division of the work that the author manages to achieve the full realization of his creative idea - the creation of a new psychologically oriented genre of the novel.
The presented compositional features of the work can be used by students of grade 9 when preparing material for an essay on the topic “Features of the composition of the novel“ A Hero of Our Time ””.
Artwork test
Introduction
Chapter 1. Problems of studying the novel "A Hero of Our Time"
1 Principles of composition in the novel
2 Violation of chronology in the novel
3 Storytelling system
4 Romantic motives
Chapter 2
1 The story "Bela" - an exposition in creating the image of a hero
2 The story "Maxim Maksimych" - the plot in creating the image of the hero
3 The story "Taman" - the development of the action in revealing the inner appearance of the hero
4 The story "Princess Mary" - the climax and denouement in creating the image of the hero
5 The story "Fatalist" - an epilogue in creating the image of Pechorin
Conclusion
Bibliography
Introduction
This course work considers the work of M.Yu. Lermontov "A Hero of Our Time". As in any work of Russian classics, there are many mysteries in the "Hero of Our Time". Among the problems that cause the most heated debate, in addition to the image of the protagonist, is the problem of the peculiarities of the construction of the work, its composition. This issue has been one of the most controversial for decades.
Receptions and methods of composition are very diverse. Comparisons of events, objects, facts, details remote from each other in the text of a work sometimes turn out to be artistically significant. The most important aspect of composition is also the sequence in which various details are introduced into the text. And, finally, the composition includes the mutual correlation of different levels of literary form. Along with the term "composition" many modern theorists use the word "structure" in the same sense. "The Hero of Our Time" is a novel consisting of five stories and short stories, united by the main character - Grigory Aleksandrovich Pechorin. A very interesting and unusual person. Although at the same time the same as everyone else, with their vices, passions, feelings, desires, oddities, thoughts.
The relevance of the study lies in the fact that the study of the features of the composition in the novel helps to better understand the author's motives in creating the image of the hero and the work as a whole.
The object of the study is the novel by M.Yu. Lermontov "Heroes of our time".
The subject of the research is the composition of the novel "Heroes of Our Time".
The purpose of the study is to analyze the novel by M.Yu. Lermontov "Heroes of Our Time" and identify the features of the composition.
The general problem of studying the features of the composition in the work "A Hero of Our Time" was specified in the following research tasks:
1.Find out what role the violation of the chronology of the novel plays in the study of the features of the composition. 2.Conduct a study of the system of storytellers in the novel. .Reveal the romantic motives of the novel. .Understand what place each chapter of the novel occupies in creating the image of the main character. .On the basis of all the above studies, to draw a conclusion about the features of the composition in the novel by M.Yu. Lermontov "A Hero of Our Time" Research methods: scientific literature analysis method, comparison and analogy methods, generalization method, etc. The work consists of an introduction, two chapters, a conclusion and a list of references. pecherin novel composition Chapter 1. Problems of studying the novel "A Hero of Our Time" 1 Principles of composition in the novel Features of the composition of the novel "A Hero of Our Time" by M. Lermontov. Gradual penetration into the inner world of the hero ... In all the stories there is one thought, and this thought is expressed in one person, which is the hero of all stories - said Belinsky about the novel Hero of our time . This work is the first Russian psychological novel, since the narrative in it is determined not by the chronology of events, but by the development of the character of the protagonist. M.Yu. Lermontov said the following about his novel: “There is not a page, not a word, not a feature that would be sketched by chance: here everything follows from one main idea and everything returns to it.” Also, both the content and the form of the work serve to reveal the main idea of the novel in Lermontov. The main idea of the work concerns the problem of the personality of an unusual person, with his vices and virtues in modern society. In the preface to the novel, Lermontov wrote: “He (the author) just had fun drawing a modern person, as he understands him ... It will also be that the disease is indicated, but God knows how to cure it!” . In 1839, Mikhail Lermontov's story Bela was published in the third issue of the Otechestvennye Zapiski magazine. Then, in the eleventh issue, the story "The Fatalist" appeared, and in the second book of the magazine for 1840 - "Taman". In the same 1840, three short stories already known to the reader, telling about various episodes in the life of a certain Pechorin, were published as chapters of the novel A Hero of Our Time. Criticism greeted the new work ambiguously: sharp disputes ensued. Along with the stormy enthusiasm of the "frantic" Vissarion Belinsky, who called Lermontov's novel a work representing a "completely new world of art", who saw in it "a deep knowledge of the human heart and modern society", "a wealth of content and originality", the voices of critics sounded in the press, absolutely who did not accept the novel. The image of Pechorin seemed to them a slanderous caricature, an imitation of Western models. Lermontov's opponents liked only the "truly Russian" Maxim Maksimych. Because of such a reaction from critics, Lermontov decided to add an author's preface and a preface to Pechorin's Journal to the novel. Both prefaces play a very important role in the work: they show the author's position as accurately as possible and explain Lermontov's method of cognizing reality. The compositional complexity of the novel is inextricably linked with the psychological complexity of the image of the protagonist. The ambiguity of Pechorin's character, the inconsistency of this image is shown not only in the study of the spiritual world, but also in comparison of the hero with other characters. The reader constantly has to compare the main character with the people who surround him. Thus, a compositional solution of the novel was found, according to which the reader gradually approaches the hero. Lermontov first published three stories separately, which in the end were not even the chapters of one part, thereby creating a special, completely new type of novel in Russian literature that easily and organically combines the features of so many genres. As B. Eikhenbaum noted, "A Hero of Our Time was a way out of these small genres on the way to the genre of the novel that unites them." Thus, we see that the composition of the novel is subject to the logic of revealing the image of the protagonist. 1.2 Breaking the chronology in the novel The stories that make up the "Hero of Our Time" are arranged in a certain sequence. This was done to gradually immerse the reader into the inner world of the protagonist, revealing his character. In the novel, the stories are arranged in the following sequence: "Bela", "Maxim Maksimych", "Taman", "Princess Mary", "Fatalist". In reality, events took place in a different order. On the way from St. Petersburg to the Caucasus, Pechorin stops in Taman. Here the hero risks his life by accidentally contacting smugglers. After participating in a military expedition, which is not in the novel, he travels to Pyatigorsk, where he meets Princess Mary and kills Grushnitsky in a duel. For this, Pechorin is sent to the fortress, where he serves under the supervision of Maxim Maksimych. At the same time, the story of Bela takes place. From the fortress, he travels for two weeks to the Cossack capital, where a fight with Vulich takes place. Then he again returns to fortress N. Then Pechorin retires and lives in St. Petersburg for five years. Then he goes to Persia and meets with Maxim Maksimych and the publisher in Vladikavkaz. Finally, returning from Persia, Pechorin dies. Consequently, the real chronology of events should be as follows: "Taman", "Princess Mary", "Bela", "Fatalist", "Maxim Maksimych", "Preface to Pechorin's Journal". Thus, the composition contributes to a more complete disclosure of the character of the hero. If you look closely at the actions of Pechorin, it is obvious that the most immoral of them is described in "Bela" (in fact, this is a crime of which Bela, Azamat and their father became victims, committed by proxy), and the most noble, even heroic - in "Fatalist" (Pechorin helps tie up a drunken Cossack, saving the lives of many officers). By the end of the novel, the noble beginning in the hero is more emphasized: he stands up for the honor of Mary, is ready to make peace with Grushnitsky. And if you build events in chronology, i.e. if "Bela" and "Fatalist" are nearby, it is clear that the hero is bored with life and he is trying to diversify it in any way. It doesn't matter to him what he does. The hero is completely disappointed, he loses interest in life. From the essay "Maxim Maksimych" it becomes clear that Pechorin is becoming indifferent to the fate of his journal: the thoughts and feelings presented there no longer excite him. The rich spiritual potential of the hero remained unrealized. But the novel ends with a feat, the reader gets the feeling that Pechorin could find a worthy use for his strength. This is how the reader's sympathy, sympathy for Pechorin is formed. The stories that should be in the middle of the novel are at its beginning and end. And the description of Pechorin's first visit to the Caucasus follows immediately after the news of his death (it is mentioned in the preface to Pechorin's "journal"), i.e. the chronological beginning and end of the novel are connected. Thus, a clear principle is traced, the author's attitude to the main character is revealed. 3 Storytelling system The novel uses a system of storytellers. First, we learn about Pechorin from Maxim Maksimych, a person of a completely different circle who does not understand the young officer. V. G. Belinsky recognized in Maxim Maksimych "a purely Russian type." He wrote: “... You, dear reader, probably did not dryly part with this old baby, so kind, so sweet, so humane and so inexperienced in everything that went beyond the close horizon of his concepts and experience. And God will give you to meet Maximov Maksimychi on the way of your life!” . Maxim Maksimych is, according to Belinsky, "a kind simpleton who does not even suspect how deep and rich his nature is, how high and noble he is." The image of Maxim Maksimych is important for understanding the democratic aspirations of Lermontov's work. Maxim Maksimych is poor, does not have a high rank and is not very educated. His life was difficult, and military service left a certain imprint on his character. Maxim Maksimych is characterized by love of life and the ability to subtly perceive the beauty of the world around him. The staff captain is endowed with a sense of beauty, he is humane and selfless, he knows how to take care of people. In relation to Pechorin, Maxim Maksimych is kind and hospitable. The old officer sincerely becomes attached to Grigory Alexandrovich and gives him tenderness and attention. Despite his kindness and sincerity, Maksim Maksimych is very lonely. He was unable to create a family and spent all the time in a lost fortress, regularly fulfilling his duties. “For him to live means to serve, and to serve in the Caucasus,” wrote Belinsky. Maxim Maksimych knows the life of the highlanders and local customs very well: “These Asians are terrible beasts! I already know them, they won’t let me through.” Maxim Maksimych compares favorably with Pechorin in his simplicity and artlessness, he is not characterized by reflection, he perceives life as it is, without philosophizing or analyzing. Maxim Maksimych is close to the surrounding reality. He understands the highlanders with their simple and primitive way of life, with their feelings, which find expression not in long speeches, but in actions. In the life of the highlanders, Maxim Maksimych sees nothing incomprehensible, inexplicable. On the contrary, Pechorin's character and behavior are completely incomprehensible to him. Pechorin in the eyes of Maxim Maksimych is “strange”: “He was a nice fellow, I dare to assure you; just a little weird. After all, for example, in the rain, in the cold, hunting all day; everyone will get cold, tired - but nothing to him. And another time he sits in his room, the wind smells, he assures that he has caught a cold; the shutter will knock, he will shudder and turn pale ... ". The characteristics that Maxim Maksimych gives to Pechorin speak not only of the simplicity and naivety of his soul, but also of the rather limited abilities of his mind, of his inability to understand the complex and searching inner world of the protagonist: “It seems that in childhood he was spoiled by his mother. That is why the story "Bela" is devoid of psychological analysis. Maxim Maksimych here simply conveys the facts of Pechorin's biography, without analyzing and practically not evaluating them. In a certain sense, the staff captain is objective. Maxim Maksimych manages to tell the story of Bel in a simple, rough language, but picturesque and filled with soul. In the story and behavior of Maxim Maksimych, we see how different his perception of reality is from Pechorin's views and attitude to life. The central event of the story is the capture of a young Circassian woman. Attention is drawn to the fact that Maxim Maksimych at first has a negative attitude towards Pechorin's act, but gradually his attitude is changing. In the sketch “Caucasian”, Lermontov noted that under the influence of the harsh Caucasian reality, the old officers acquired a sober, prosaic outlook on life: “Cossacks do not tempt him, but at one time he dreamed of a captive Circassian woman, but now he has forgotten this almost unrealizable dream.” In the story of the kidnapping of Bela, told by Maxim Maksimych, Pechorin turns out to be fulfilling the "almost impossible dream" of every "Caucasian", including, perhaps, Maxim Maksimych himself. In "Maxim Maksimych" the role of the narrator is given to a wandering officer - a person who is closer in attitude and social status to the hero. He notes in the appearance of Pechorin the features of a strong, but internally lonely personality. The writer, who is still under the impression of the story about Bela, meets Pechorin face to face. Of course, he looks closely at him, notes his every feature, every movement. The officer draws a detailed portrait with some psychological remarks. The portrait occupies one and a half pages of text. The figure, gait, clothes, hands, hair, skin, facial features are described. Particular attention is paid to the eyes of the hero: ... they did not laugh when he laughed! .. This is a sign of either an evil disposition, or deep permanent sadness. Because of their half-lowered eyelashes, they shone with some kind of phosphorescent brilliance... It was not a reflection of the heat of the soul or a playful imagination: it was a brilliance like the brilliance of smooth steel, dazzling, but cold... The portrait is so eloquent that we are confronted with a visible image of a man who has experienced a lot and is devastated. Almost nothing happens in this story - there is no plot dynamism that is present in "Bel" and "Taman". However, it is here that the psychology of the hero begins to unfold. Probably, this story can be considered a plot in revealing the image of Pechorin. In the next three stories - “Taman”, “Princess Mary”, “Fatalist” - Pechorin himself is the narrator, who tells about his adventures in the seaside town, about his stay in Pyatigorsk, about the incident in the Cossack village. The reader learns about the feelings, experiences of the hero from the hero himself. In the story "Princess Mary" Pechorin impartially analyzes his actions, his behavior and his motives: ...that has been my fate since childhood! Everyone read on my face signs of bad qualities that were not there; but they were assumed - and they were born ... I became secretive ... I became vindictive ... I became envious ... I learned to hate ... I began to deceive ... I became a moral cripple ... On the night before the duel, Pechorin asks himself the question: why did I live? For what purpose was I born?... But, it is true, it existed, and, it is true, I had a high purpose, because I feel immense strength in my soul ... This understanding of one's destiny in life a few hours before a possible death is the culmination of not only the story Princess Mary but the whole novel Hero of our time .
For the first time in Russian literature, much attention was paid not to events, but to the “dialectics of the soul”, and the form of a diary confession allows to show all the “movements of the soul” of Pechorin. The hero himself admits that his soul knows such feelings as envy, pity, love, hatred. But reason nevertheless prevails over feelings: we see this in the scene of the pursuit of Vera. Thanks to this system of storytellers, M.Yu. Lermontov managed to create a holistic image of Pechorin. 4 Romantic motives "A Hero of Our Time" is a cycle of stories united by one main character. This is a realistic work with a very significant influence of romanticism. The creative principle of this novel is complex and still controversial, as it combines romantic and realistic principles. The events of the novel take place in the Caucasus, on the seashore: a favorite setting for Lermontov's romantic poems. The Caucasus is the land of a free life, which Lermontov sang in his lyrics, relying on childhood memories, on the work of Pushkin. Here everything is in harmony with the environment. Creating the "Hero of Our Time", Lermontov was no longer a romantic youth. But this does not mean that romanticism has ceased to manifest itself in the works of Lermontov. In "A Hero of Our Time" both the nature and life of the Caucasus are shown through the perception of Maxim Maksimych, a sober, reasonable man who is alien to romantic moods. The landscape in "Taman" is perceived in two ways. It is visible, accurate, realistic, and there are also romantic motives for it - the motives of the sea element and the sail. Pechorin likens himself to people belonging to a merciless and stormy element: “And, like a sailor, born and raised on the deck of a robber brig ...” Pechorin's soul refuses to be calm, always "asks for storms", demands from the world of feelings, events, relationships that would satisfy romantic maximalism. Lermontov brings Pechorin closer to the powerful, majestic, exotic nature of the south, just as he brought his Mtsyri closer to her. Features of Lermontov's romanticism in "A Hero of Our Time" reflect the contradiction between ideal values and human reality. This conflict is typical for Russian society in an era when the Decembrist uprising was defeated and freedom-loving ideas were persecuted by the authorities. In the story "Bela" the situation in which Pechorin is located is romantic. The images of the heroes surrounding the hero are romantic: Bela, Azamat, Kazbich. All of them are whole m and urs, people of the same passion, who do not know the “golden mean” in the manifestations of their feelings. For Bela, love is a sincere feeling that will not succumb to any influence, unlike Pechorin, who lost interest in Bela, having achieved her love. For Azamat, there are no obstacles in achieving the path, he can give anything, for the horse, which he considers the best, Laama g is an exceptional person, his feelings are aggravated, he cannot stand being teased, nothing can stop his desire for fulfillment of even a small wish. The character of Kazbich is heroic, although Maxim Maksimych tries to present him as just a robber (“... his mug was the most robbery”). Kazbich, like Azamat, is persistent in achieving his goal. Indifferent to money, he values freedom most of all. In "Taman" the situation in which Pechorin finds himself is also romantic. At the beginning of the story, the events are surrounded by mystery. The image of a girl-smuggler is romantic, whose mood changes bizarrely. She is surrounded by an aura of mystery, she has a lot of vitality, courage, determination. “She gazed into the distance, then laughed and reasoned with herself, then sang the song again,” Pechorin sees her like that. The image of Yanko, who "is not afraid of the storm," is also romantic. The activity of a smuggler is always associated with a risk to life. But at the end of the story, Lermontov shows how poor the inner world of smugglers is: both Yanko and the girl become cruel when it comes to dividing money. The blind boy received only a copper coin from them, and the old woman Yanko says that it is time for her to die. In "Taman" romanticism combines and merges with realism: on the one hand, the situation is mysterious and mysterious, and on the other hand, all mysterious and mysterious events receive a completely plausible, natural explanation. Smugglers have much in common with the highlanders: both of them live easily, freely, unlike Pechorin. Lermontov places the main character among people whose lifestyle is directly opposite to his lifestyle in order to reveal the emptiness and aimlessness of Pechorin's life. Not a single hero in the work receives such a versatile and individualized characteristic as Pechorin. It shows the features of a romantic hero. It expresses Lermontov's attitude towards his contemporary generation, which the author considered to exist without a goal, inactive at a time when it was necessary to transform society. To a large extent, Pechorin is the bearer of the author's opinion, although, of course, the author and the hero cannot be considered identical to each other. Lermontov showed in Pechorin the shortcomings that he considered characteristic of the society of that time. According to the author, Pechorin is a portrait of many people, made up of their vices. Chapter 2 1 The story "Bela" - an exposition in creating the image of a hero The basis of the plot of the story "Bela" is the love story of a savage woman and a man of high society, which has long been banal, and if it is described by Lermontov, then who knows, maybe in order to emphasize the connection of his hero with a whole gallery of portraits of romantic predecessors. They were all fascinated by the illusion of the originality of an inexperienced nature, and they were all disappointed by its underdevelopment and narrow-mindedness. Bela becomes a victim of Pechorin's self-will; she is forcibly torn from her environment, from the natural course of her life. Modern researcher B.T. Udodov notes on this occasion: “The beautiful in its naturalness, but fragile and short-lived harmony of inexperience and ignorance, doomed to inevitable death in contact with real, albeit “natural” life, and even more so with civilization invading it more and more powerfully, has been destroyed. ". The demanding, developed consciousness of Pechorin could not satisfy Bela's "simplicity". A modern person, with a complicated psyche, is not able to renounce himself and be satisfied with life, flowing unconsciously. For the true fullness of life, it is not enough that the present has a basis only in itself, in its immediate givenness: to love only because one loves, to hunt because one wants to pursue the beast. It is not enough for Pechorin that his actions have their “sufficient grounds” in passions or whims: he needs them to also have goals. This is required both by his active nature and by his critical, searching consciousness. Love must also have content, meaning. "Meaningful content was powerless to give love, in which there was no consciousness, but only" innocence "and" ignorance ", no matter how much devotion and passion, grace and tenderness contained in it." . Maxim Maksimych remarks: "... He listened to her in silence, with his head on his hands; but only I did not notice a single tear on his eyelashes all the time: whether he really could not cry or was in control of himself - I don’t know; what up to me, then I didn’t see anything more pitiful than this ... I took Pechorin out of the room, and we went to the ramparts; for a long time we walked back and forth side by side, without saying a word, bending our hands on our backs; his face did not express anything special and I felt annoyed: if I were in his place, I would have died of grief. Finally, he sat down on the ground, in the shade, and began to draw something with a stick in the sand. I, you know, more for decency, wanted to console him, began to speak; lifted his head and laughed... Chills ran down my skin from this laughter...". Pechorin's laughter at the dead Bela freezes in his ears as confirmation of his being marked by fate, to which he is already accustomed. That is why the author of the notes accompanies his thoughts about Pechorin and Bel in silence, asking Maxim Maksimych about the insignificant details of his story. Sketching in "Bel" a general outline of the figure of the hero of the time and the main nodes of the problems associated with him, Lermontov already here proceeds to the trial of Pechorin. But his sentence is hard. When asked about the guilt of the hero, he gives a double answer: Pechorin is both to blame for destroying Bela's untroubled existence, and not to blame for not being able to love her anymore. Who is to blame? The one who created the necessary line between an inexpressibly beautiful, selflessly feeling, but naive, undeveloped being and a hopelessly restless person, the owner of a sharply analytical, demanding intellect, is to blame. The one who doomed human life to futility and meaninglessness is to blame, and thus caused more and more new searches to overcome the emptiness of life, each time ending in failure. Guilty is the one who threw a person into an environment that can not withstand either criticism of thought or verification by action and thereby left the personality to itself - and to its desires and its own judgment. In other words, the true culprit of the fact that Pechorin is "unhappy", and as a result of this, Bela, is ultimately modern society. But this does not mean that the hero is right. Whatever reasons have formed the personality of a person, he must answer for his actions addressed to other people. Thus, Lermontov’s new broadly humanistic point of view is already visible in Bel, when he not only judges society on behalf of the “chosen” progressive personality, the hero, but also judges the hero himself on behalf of the “many”, that is, ordinary, not “chosen” "and not even advanced, but people who have the right to respect for their personality. In the sad story of Bela, who begins to realize herself unloved, Lermontov reveals Pechorin's guilt, his selfish individualism. No matter how much Pechorin was passionate about Bela, and no matter how little he was to blame for the fact that he became bored with her, one thing is clear: he turned a living, feeling, self-valuable person into an instrument for his egoistic goals and passions, into a cure for boredom , which he will discard without hesitation as soon as it ceases to act. This is Pechorin's fault. He pulled Bela out of her native environment, deprived her of her home, her father, her brother, he torments her with his coldness and is about to leave her as soon as she stops distracting him from boredom. He does not change anything in his actions in order to stop causing suffering to others. He is a destructive, destructive force in relation to the personality and destinies of other people. 2. The story "Maxim Maksimych" - the plot in creating the image of the hero The clash of the individualist Pechorin with the ingenuous kindness of Maxim Maksimych helps to critically reflect on the character of the hero acting in a real human environment: “I turned to the square and saw Maksim Maksimych running with all his might ... A few minutes later he was already near us; he could hardly breathe ; sweat rolled down his face in hail; wet tufts of gray hair, escaping from under his cap, stuck to his forehead; his knees were trembling ... he wanted to throw himself on Pechorin's neck, but he rather coldly, although with a friendly smile, held out his hand to him The staff captain was dumbfounded for a moment, but then greedily grabbed his hand with both hands: he still could not speak. "How glad I am, dear Maksim Maksimych! Well, how are you?" said Pechorin. "And... you?... and you? .. - the old man muttered with tears in his eyes ... ... Pechorin, in absent-mindedness or for some other reason, held out his hand to him when he wanted to throw himself on his neck. In the episode of the road meeting, Lermontov is on the side of Maxim Maksimych and against Pechorin. What is Pechorin's fault? If Maxim Maksimych is all turned towards another person, all open to meet him, then Pechorin is completely closed in himself and does not sacrifice anything for another, even the smallest. On the contrary, his hand will not tremble to sacrifice the soul of another to his peace. Lermontov exposes Pechorin's egocentrism, which correlates everything with "I", subordinates everything to this "I", remaining indifferent to how his behavior will affect another person. The fact is that he did not feel the full height and purity of the human charm of the old staff captain, did not feel the humanly great content of his feelings to the extent that he could freely, without "sacrifice" and violence against himself, respond to these feelings. Pechorin is so self-contained that he loses the ability, forgetting about himself, to be imbued with excitement, anxieties, and requests from the soul of another person, at least for a while. In a small episode of a road meeting, it is not the smart and strong-willed Pechorin who is right, but the simple-minded, limited captain, who knows how to become attached to another person so disinterestedly and selflessly. Criticism of Pechorin's egoism, palpable even in "Bel", here appears clearly and deeply: there Pechorin was required to sacrifice truth and freedom of feeling - here the "sacrifice" did not oblige to any loss of spiritual independence and yet was not brought. 2.3 The story "Taman" is the development of action in revealing the inner world of the hero The first novella of Pechorin's Journal "Taman" is a single story about the incident that happened to the hero. It outlines the main motives of the entire "journal": Pechorin's desire for active action; "curiosity", pushing him to put "experiments" on himself and others, to interfere in matters that do not concern him; his reckless courage and romantic attitude, and most importantly, the desire to understand what drives people, to identify the motives of their actions, to comprehend their psychology. At the beginning of the story, Pechorin, as it were, briefly describes the content of the chapter to us: “Taman is the nastiest town of all the coastal cities of Russia. I almost died of hunger there, and besides, they wanted to drown me.” In this chapter, the internal appearance of Pechorin begins to emerge. Here appear outlines of those qualities that will be revealed in more detail in other parts of the diary. From "Taman" we still cannot get an idea of \u200b\u200bPechorin's life philosophy, but we are already beginning to understand his character. As in "Bel", Lermontov again places the hero in an environment alien to him - the world of simple, rude people, smugglers. Taman - the action-packed and at the same time the most lyrical story in the entire book - continues the traditions of romantic robber stories in a new and realistic manner. Thus, the world of nature and civilization again prove to be incompatible with Lermontov. The writer painted in the image of a smuggler a type of character deeply sympathetic to him, in which there is no indifference to life, indifference, but a lot of strength, energy, passion, will. Such a character helped Lermontov to reveal the qualities of his main character and convey the dream of strong and whole people capable of fighting. But a beauty from a wild, free, romantic world turns out to be an assistant to smugglers. She is masculine and determined. Indeed, smugglers Taman do not enter into a struggle with society in the name of some high ideals, but they are free, far from any conventionality and falsehood, natural as opposed to false and arrogant representatives water society faced by Pechorin in the next chapter. However, in a certain sense, the story restores the semantic balance in the novel. If in “Bel” Pechorin rudely invades and destroys the measured course of life of the highlanders, “offending” nature itself in their person, then in “Taman” the “natural world” does not want to endure any more interference from outside and almost takes Pechorin’s life. Pechorin absolutely does not think about others. He only cares about his own interests and entertainment. Therefore, often the hero distorts or even breaks the fate of other people, interfering with them out of curiosity. He himself discusses this at the end of the story: “I felt sad. And why did fate throw me into the peaceful circle of honest smugglers? Like a stone thrown into a smooth spring, I disturbed their calmness and, like a stone, I almost sank myself!” "Taman" should be the first in chronology, it is here that the hero is still young, he has dreams and aspirations. Therefore, here we observe the interweaving of a romantic narrative with a realistic one. In the description of smugglers, romanticism is associated with their free way of life, their strength, dexterity, and courage. This is probably what Pechorin is striving for in the depths of his soul. The landscape is also romantic, for example, the raging sea: “Slowly rising to the ridges of the waves, quickly descending from them, the boat approached the shore. The swimmer was brave, who decided to set off through the strait on such a night ... "Here, the description of the elements helps to reveal the romantic image of Janko, for whom "everywhere there is a road, where only the wind blows and the sea is noisy." It can be assumed that Janko is the personification of the young soul of the protagonist, who yearns for freedom. The meager spiritual world of smugglers, their way of life and character, is realistically shown. It turns out that money determines the relationship of these people. Janko and the undine become violent when they start sharing stolen goods. The blind boy receives only a copper coin from them. And the old woman Yanko orders to convey, "that, they say, it's time to die, healed, you need to know and honor." The way of life of smugglers corresponds to the environment in which they live: “I went into the hut - two benches and a table, and a huge chest near the stove made up all the furniture. Not a single image on the wall - a bad sign! The sea wind blew through the broken glass. 4 The story "Princess Mary" - the climax and denouement in creating the image of the hero The next part of the story, "Princess Mary", reminds us of a society story and a psychological novel at the same time. Pechorin is depicted here surrounded by people of his circle - a secular aristocracy gathered on the waters. The story is the culmination in the disclosure of the image of Pechorin. It is here that he reveals his psychology, his life attitudes. Before the duel with Grushnitsky, he reflects on the meaning of his own life and does not find it: “Why did I live? for what purpose was I born?.. But it is true, it existed, and it was true that I had a high purpose, because I feel immense powers in my soul, but I did not guess this purpose, I was carried away by the lures of empty and ungrateful passions; I came out of their crucible hard and cold as iron, but I have lost forever the ardor of noble aspirations, the best color of life ... ". "Princess Mary" is built from diary entries - this is an almost daily chronicle of Pechorin's life. He describes the events of the day. But not only and not so much of them. Please note: Pechorin is not at all interested in "general questions". We learn little about Pyatigorsk, about the public, about the events in the country, in the town itself, about the course of hostilities (and newcomers probably arrive every day - and tell!). Pechorin writes about his thoughts, feelings, his behavior and actions. If Grushnitsky had not been his former acquaintance, Pechorin would not have paid attention to him, but, forced to renew his acquaintance, he bursts out in the journal with a caustic epigram on Grushnitsky himself and those like him. But Dr. Werner Pechorin is interesting: this is a special human type, in some ways close to him, in many ways alien. At the sight of the charming Princess Mary, Pechorin begins to talk about legs and teeth, and the appearance of Vera, with her deep, tragic love, makes him suffer. See the pattern? Pechorin is not interested in playing the role of "disappointed", through and through imitative Grushnitsky, and at first the usual Moscow young lady Mary Ligovskaya is not interested either. He is looking for original, natural and deep natures, exploring, analyzing them, just as he explores his own soul. For Pechorin, like the officer-narrator, like the author of the novel himself, believes that "the history of the human soul ... is almost more curious and more useful than the history of a whole people ...". But it’s not enough for Pechorin just to observe the characters: life in its everyday, unhurried flow provides not enough food for thought. Was the naive Maksim Maksimych right, who considered Pechorin to be a "sort of" person, who "has written in his family that various unusual things should happen to him"? Of course no. The point is not that Pechorin is destined for various adventures - he creates them for himself, constantly actively interfering in his own destiny and in the lives of those around him, changing the course of things in such a way that it leads to an explosion, to a collision. So it was in "Bel", when he abruptly changed the fate of the girl, Aroma, their father, Kazbich, weaving their paths into an unthinkable ball. So it was in "Taman", where he intervened in the life of "honest smugglers." “Princess Mary” in a certain sense is also the denouement for Pechorin’s fate: here he brings to its logical conclusion the human connections that are especially important for him: he kills Grushnitsky, openly explains with Mary, breaks with Werner, breaks up with Vera. He remains completely alone. 5 The story "Fatalist" - an epilogue in creating the image of Pechorin The last story, which concludes the novel, is called "The Fatalist". In revealing the image of Pechorin, she plays the role of an epilogue. Lermontov raises here the philosophical problem of fate, fate, fate. Vulich dies in the story, as Pechorin predicted, and this suggests that predestination exists. But Pechorin himself decided to try his luck and remained alive, the hero’s thoughts are already more optimistic: “... how often do we take a deception of feelings or a mistake of reason for conviction! I like to doubt everything: this disposition of the mind does not interfere with the decisiveness of the character - on the contrary, as far as I am concerned, I always go forward more boldly when I do not know what awaits me. Thus, the completion of the "Hero of Our Time" with a philosophical story is significant. Pechorin often does evil, well aware of the true meaning of his actions. However, the "ideology" of the hero allows him such behavior. Pechorin himself is inclined to explain his vices by evil fate or fate, life circumstances, etc. no one could die or fall into despair. I was like a necessary person in the fifth act: involuntarily I played the pitiful role of an executioner or a traitor. Lermontov, on the other hand, does not relieve Pechorin of responsibility for his actions, recognizing the autonomy of the hero's free will, his ability to choose between good and evil. The writer ends the novel not with the death of Pechorin, but with the episode where he, being in mortal danger, nevertheless escaped death. Moreover, in the story "The Fatalist" the hero questions the existence of predestination, fate, giving priority to his own strengths and intellect. Thus, the author does not relieve him of responsibility for all his actions, including those that he committed after his stay in the Cossack village. In addition, as we noted above, the character of Pechorin is static, the novel does not represent the evolution of the hero, his spiritual growth, we do not see the internal changes taking place with him. Lermontov only varies life situations and guides this character through them, exploring more and more new facets of his inner world, doing this in order to further intrigue the reader, so that the middle and end of the story are in sharp contrast. In addition, such a decision gave the author the opportunity to end the novel, as Eikhenbaum B.M. wrote: “with a major intonation: Pechorin not only escaped death, but also committed a generally useful and courageous act ... Thanks to a peculiar “double” composition ... and the fragmentary structure of the novel, the hero in does not perish in the artistic (plot) sense: the novel ends with a perspective into the future - the hero's exit from the tragic state of inactive doom ... Instead of a mourning march, congratulations from the officers on the victory over death are heard ... ". Thus, the content of the novel again goes beyond the time frame: the narration is transferred to the distant past, which becomes “real” for the reader. Here we again observe the principles of romantic poetics. Conclusion Summing up the general results of the study, it should be noted that after analyzing the novel by M.Yu. Lermontov "Heroes of Our Time", I completed the following research tasks: 1.I found out that the violation of the chronology of the novel creates a circular composition, thanks to which a clear principle can be traced, revealing the author's attitude to the main character. 2.She conducted a study of the system of storytellers in the novel and found that it was thanks to such a system of storytellers that M.Yu. Lermontov managed to create a holistic image of Pechorin. .Revealed the romantic motives of the novel. .I realized that each chapter of the novel occupies an important place in creating the image of the main character. Based on all the above studies, we can conclude about the features of the composition in the novel by M.Yu. Lermontov "A Hero of Our Time": the novel is imbued with unity of thought. The compositional principle of the gradual approach of the inner world of the protagonist in Lermontov is symbolic: it reveals the futility of the hero's search, his inability to break out of the framework of his own ideas about life. I also revealed the main idea of the novel - the question of the inner world of a person, his actions and inclinations, thoughts and feelings, and the reasons that gave rise to them. The entire plot-compositional structure of the work is subordinated to this idea. List of used literature 1. Lion P.E., Lokhova N.M., Decree. op., p. 184. Eikhenbaum B.M. "Hero of our time" - Eikhenbaum B.M. About prose: Collection of articles. L., 1969. Belinsky V.G. Hero of our time. Composition by M. Lermontov. - In the book: M.Yu. Lermontov in Russian criticism. M., 1951. Eikhenbaum B.M. Decree. op. Belinsky V.G. Articles about Pushkin, Lermontov, Gogol - M. 1983 Gershtein E. The fate of Lermontov M.1986 Korovin V.I. The creative path of Lermontov M 1973 Manuilov V.A. Roman M.Yu. Lermontov "A Hero of Our Time": Commentary. 2nd ed. add. - L., 1975. Mikhailova E. Lermontov's Prose. - M., 1975 Udodov B.T. Roman M.Yu. Lermontov "A Hero of Our Time". - M., 1989.Similar works to - Features of composition in the novel by M.Yu. Lermontov "A Hero of Our Time"
