Summary of a lesson in literature on the topic "Hero of Our Time" - the first psychological novel in Russian literature. (grade 9)

Lesson 3

Preface.First, I will post two excerpts from articles (for courses) that relate to the theory of the novel and the composition of the "hero". They were not written entirely for the lesson, you can just look into them and not say it anymore (especially things that are quite well-known).

– A novel is an “epic of private life”, unlike the ancient epic poems dedicated to the life of a people (and not an individual, even if, for example, the cunning Odysseus or the mighty Ilya Muromets turn out to be in the center of the narrative).

– The novel tells about the formation and development of an individual personality, “deployed” in artistic space and time, necessary for the history of this individual destiny to somehow “determine”, find or realize itself.

– The novel is a “free” genre, not constrained by strict classicist “rules”: classicism considered the novel to be a “low” genre, suitable for describing corrupted modern mores and did not consider it necessary to describe its genre properties.

- The novel often “pretends” to be a description of a true (rather than fictional) life story, and therefore the authors include allegedly authentic documents in it: letters, excerpts from a diary; the novel seems to be trying to blur the line between fiction and reality, art and life.

– No matter how skillful the writer who creates the novel is, he voluntarily “shifts” his storytelling talent into the background, because the main thing in the novel is the plot, the event, the novel’s “interest in continuation,” as M.M. called it. Bakhtin. (6) Epos and novel in the book: M.M. Bakhtin. Questions of literature and aesthetics. M., 1975, p. 474. This does not mean that writing a novel requires less skill than writing an ode or a tragedy (as one might naively believe in the 18th century, when the Russian novel eked out a rather miserable existence), but even the most virtuoso narrative technique in the novel remains only a means to create characters. , plot development, etc.

In determining the genre originality of A Hero of Our Time, we will have to find out what novel differs from story. If Pushkin created his novel, starting from the genre of a romantic poem, then Lermontov took a prose (but also mostly romantic) story as a basis: this genre was also better developed in the 30s of the 19th century than the Russian prose novel.

There are several points of view on what is the originality of the genre of the story.

1. Relatively speaking, a "quantitative" approach: the story is a kind of "average" epic genre; it is more than a story (in terms of volume, number of characters and events, time of action, etc.), but less than a novel. Sometimes supporters of this theory add that the novel touches on important social issues, and the story tends to describe private life. This approach now satisfies few people, since it cannot explain, for example, why The Captain's Daughter is a story, and Dubrovsky is a novel, although in the first case both the volume is larger and the sharpness of "public issues" is no less than in second.

2. Another version suggests the existence of two types of epic prose: one belongs to the ancient oral tradition, the other took shape only in written literature. To the first belong story and story, to the second - "new" genres: novel and short story. “If in the novel the center of gravity lies in the integral action, in the actual and psychological movement of the plot, then in the story the main burden is often transferred to the static components of the work - situations, states of mind, landscapes, descriptions, etc. (...) a huge role in the story (and the story) is played by the speech element - the voice of the author or narrator. (7) LES, p. 281.

3. The third version is based on the compositional features of the story: in the story, the events are presented chronologically, in their natural sequence. (8) E.Ya. Fesenko Theory of Literature: Textbook. Ed. 2nd, rev. and additional –M., 2005. Such a “presentation of material” does not make concessions to the “interest of continuation”, conscientiously unfolding the picture of events in the order in which they appeared before the narrator.

The second and third versions are interconnected and do not contradict each other. Let's invite the class, based on this theory, to find the features of the stories in those fragments that make up the "Hero of Our Time". Indeed, each of them unfolds in chronological order. As for the "element of storytelling", it plays a big role in the first part of the novel - in the stories "Bela" and "Maxim Maksimych"; "Pechorin's Journal" is a "originally" written, not narrated text and a typical novelistic technique (imitation of "documentary"). However, Taman, and Princess Mary, and The Fatalist are traditionally called stories, since they are the "building material" for the novel. However, the transfer of mental states, and landscapes, and the voice of the narrator play a huge role in them.

In order to "assemble" a novel from these stories, Lermontov abandoned the chronological principle. Let's offer the class a "classic" task:

- Restore the "correct" sequence of parts. - Most researchers are inclined to this option: "Pechorin's Journal", "Bela", "Maxim Maksimych", "Foreword to the Journal".

(Another answer is possible: so that the reader does not think that the character of the protagonist is shown to him in development. However, this is hardly the main thing in the author's intention: it is enough that we do not see how this character was formed).

- But what is the "interest of continuation" if the novel does not have a single plot? What plays the role of a “mystery” here, a question that needs an answer, and a plot that needs a resolution? - Apparently, the character of the protagonist, his personality.

- And one more "classic" question: try to explain the internal logic of the order in which Lermontov arranged the parts of the novel. (In other words, explain the main compositional principle, which is subject to the "Hero of Our Time").

Usually schoolchildren easily notice that in the first part we see the hero "from the outside", and in the second he reveals his inner world.

– Is there (within the first part) a difference between the look of Maxim Maksimych and the narrator? - Oddly enough, the narrator notices and understands more than Pechorin's old friend. Why? - They are people of the same circle and experience; the narrator "understands the Pechorins", Maxim Maksimych does not. So, already inside the first part we see some approximations to the “solution”.

It is more difficult to see the logic of "approximation" inside Pechorin's Journal, and if no one sees it right away, this question can be returned to at the end of the study of the novel. The main thing that the reader is trying to understand is the motives of Pechorin's actions, the inner meaning of his "adventures". In "Taman" the hero himself describes what is happening to him, but touches on the motives in passing and only teases the reader's curiosity. In "Princess Mary" a complete psychological introspection is developed; the hero explores himself at the level of emotions and passions and does not find a clue to his "strangeness". The Fatalist, on the other hand, describes a highly peculiar “philosophical experiment”: Pechorin is trying to get an answer whether there is any higher being, fate, predestination above him, and whether there is that “great destiny” for him in the world that needs to be guessed, - or he himself is the sole master of both his actions and fate. And this is the last answer, the last "guess" that the author offers us.

- Can we say that in "A Hero of Our Time" the hero realized the logic of his fate, determined for himself its main meaning (as is typical of a novel hero)? - That's Pechorin's trouble, that he looking for this meaning, but did not find it. The finale of the novel is sometimes interpreted as the final degradation of the hero, who has lost hope of finding answers to his questions. But the fact that death caught him on the road can be interpreted in the opposite way - especially when you consider that for romantics the road is a symbol of the endless path, the endless striving of the human spirit for ideal and perfection (and in Lermontov's prose, as well as in his poems , the influence of romanticism is very deep). Death on the way is a sign of ongoing search and unbending perseverance: this hero continued to search for answers to the end.

Lesson 1.

1. Give a written survey: “What kind of person is Pechorin?” Clarifying questions:

What is he looking for in life?

- What guides the actions?

Does he have criteria for good and evil?

Brief summary: at the heart of this novel is one question, one mystery - the character of the protagonist. What is he like, why does he live this way, what is he doing, what does he need from life? Our task is to figure this out.

2. Restore the chronology of events and understand the composition (see above). We find out that the novel is built in this way - as an approximation to the solution. I draw on the board an acute angle resting on a point - Pechorin.

3. What is common in the plots of all stories? - Children see that Pechorin always brings misfortune to those with whom he deals (spoils all his toys, even Maxim Maksimych). And that every time he risks his life on a par with his main opponent. Each time it can die, but the other one dies.

But they do not see that here, as in Belkin's Tales, new patterns are being embroidered on the old canvas. All these plots are more or less characteristic of romantic prose and poems (stories with undines, adventures with mountain beauties, secular duel showdowns ...). You can even say that Pechorin seems to be trying to penetrate the magical world of romantic stories, but that was not the case. Something similar to the story with Pinocchio and the painted hearth happens: he stuck his nose into the picture - tore it, but could not get inside. This is very noticeable in Taman: the world remained magical and beautiful, but the fairy tale collapsed and slipped away.

4. If there is time left, we start talking about "Bel". Chronologically, this is a rather late story, but it all begins with it. And here the first questions about Pechorin appear. You can ask first what he thinks about Pechorin M.M. ("strange" - and a list of oddities, and something is clearer to us than to the narrator; "spoiled" and ready for anything for the sake of fulfilling his momentary desire). Which one is older?

Then the story of Bela's kidnapping.

- Whose idea? - Azamat. Yes, and his performance, Pechorin only played along slightly.

- Who and what prohibitions overcomes along the way? (Azamat - fear of the father, Bela - of Allah, M.M. - of the authorities). And Pechorin? We find out in detail what M.M. had to say: why can’t a Russian officer steal a mountain girl, even if he wants to (as Pechorin says)? - Not according to the customs of our faith and not according to the laws of our country. However, M.M. does not say this. Why? “Partly he understands that it’s useless, partly because he himself, having lived for years among the highlanders, became infected with moral relativism: one people has one laws and faith, another has a different one ... And they seem to be equally possible ...

- And so we “ran into” the Pechorin question: are there any laws of morality that are mandatory for all people, regardless of folk customs (which are rather arbitrary)? Or is all morality a convention? We ask: what law does Pechorin follow in this story? - Formally - mountain, in fact - their own desire. The mountain law here is only a tool for manipulating Azamat. - How seriously does Pechorin perform it? - He is forced to finish the game in all seriousness, because the highlanders have only one law - blood feud (here it is - this equal risk, the willingness to pay with one's own life for one's actions).

Who is to blame for Bela's death? - Kazbich, Azamat, Pechorin, partly - M.M. Who will plead guilty? - Only Pechorin (by the way, blood feud does not imply special mental anguish and conscience: the ancient Greeks, they say, had no conscience in sight). - How sincere? - More than: he does not say any words - he laughs terribly and is sick for a long time.

So, the intermediate result: we found out that for Pechorin there are no sacred laws that go back to the faith and custom of some people. He is ready to play according to the rules of any human world: with smugglers - according to their robbery laws, with secular people - according to the laws of secular honor, with the player - in his manner. But his soul takes responsibility for everything that happens through his fault.

Lessons 2 - 3. Pechorin's character: psychological analysis

1. We understand Pechorin further: the author gives us his portrait. We write down: the first in Russian literature psychological picture. What does it mean? And the fact that the narrator reads Pechorin like a book: he explains each external feature with a comment about his character. It looks casual, but try to describe, for example, a desk mate like this: his clothes mean this, his laughter means that, the way he looks, sits, moves - everything makes sense, but not everything is easy to interpret. Question: is there any pattern in the description of Pechorin? - There is a duality. He looks either young, or not very young, or strong, or exhausted, or sad, or angry; the gloves are dirty - the underwear is dazzling ... Sometimes someone jokes and says that Pechorin has a typical elven appearance. What can you say? Genes, perhaps, Lermontov, Scottish affected?

2. We ask about his attitude towards Maxim Maksimych. Why is he so defiantly avoiding him? Does he neglect the common man (according to M.M. himself)? - Some say: because an egoist who thinks only about his own pleasure. Others notice that the meeting with M.M. he is uncomfortable. With M.M. will have to talk. About what? About Bel, of course. For M.M., as we already know, this is an interesting, exciting story. And for Pechorin? - He does not forget anything, he remembers his guilt. He does not want to stir it all up, especially with a person who does not feel how much it hurts.

Now about what happened to M.M. He turned into a grumpy staff captain. Is Pechorin to blame for this? The kids will say it's my fault. It was necessary with him delicately ... But we already understood that Pechorin was unbearable. And M.M. turned out to be a true friend? - Hardly. How angrily he threw away Pechorin's papers ... The resentment turned out to be much stronger than friendship (resentment and pride: he told his fellow traveler about his close friendship with this man ...). In general, Pechorin does not spare the people who meet him on the way, but these people do not show special love and devotion either ...

Okay. Now we will figure out together with the narrator how and why Pechorin lived even before meeting M.M. (because the Journal was written earlier).

3. There are two series of questions that are interconnected, but it is better to analyze them separately for a start. 1) What does Pechorin think about himself and his fate? 2) How does he act with other people and why?

The first is D/Z. It is good if the children read everything that Pechorin wrote about his character. We find out that he is bored and looking for entertainment (adventure, mysteries, secrets, confrontation), but at the same time he vaguely feels that all this is small for him, that he was born for some higher purpose - but what? No higher goals will ever appear on the horizon of his life. Let us pay attention to a certain touch of Pechorin's materialistic irony in relation to his own spiritual life. He compares the collapse of life with several cups of strong coffee drunk at night. Both can be defeated with the help of a thorough walk ... Pechorin is not inclined to rush about with himself and is looking for the most rational and prosaic explanation for all his internal movements.

Now the second is how he treats other people. One may ask why he began to spy on smugglers, upset the romance between Grushnitsky and Princess Mary, make her fall in love with him? - He had fun. In the first case (in "Taman"), as we said, he just wanted to get into a romantic plot. And he destroyed the fairy tale and got another notch on his conscience: a blind boy left without food (and an old woman ...). Pechorin and the smugglers acted according to the same laws: they deceived, drowned, threatened ... But they left the dangerous nest without any regret, and Pechorin survived his share of guilt. By the way, the remark there is good about the fact that he does not care about smuggling: he does not care about state interests at all.

In "Princess Mary" the motivation is more complicated. He tested in practice his theoretical knowledge about the properties of human psychology (our novel is socio-psychological, although also philosophical). But at the same time, he used other people partly as puppets, partly as food for his inner hunger (about how pleasant it is to capture first love and then throw it away). Behind these experiments is a completely conscious worldview: there are no "absolute" moral laws for this hero. The criteria for good and evil are his desires and the pleasure of their fulfillment; they are the only basis for action.

Pechorin puts himself as a kind of god over others, and he really successfully manipulates everyone. However, using other people's passions and sufferings as food for his pride or boredom, he never gets enough. Why? – Because taking is a bottomless abyss. In order to become happy, you need to give (sometimes I cite as an example a remark from the “Junker’s Letters” - “we don’t understand selfless love; if I love someone, I’ll gobble up with all the giblets”).

Difficult question - why is it like that? Someone finds his monologue for Princess Mary about how he wanted good things, but society spoiled him. Sometimes this is noted as a feature of realism (secular society is to blame for everything). But there are two reservations here: he says this on purpose; he didn't come up with it himself. In fact, he retells the monologue of Frankenstein from the novel by Mary Shelley (everyone has more or less heard about this monster). So there is somehow more romanticism than realism ...

The rivalry with Grushnitsky is both petty and at the same time understandable: Grushnitsky is trying to play the role of Pechorin and take his place (the very best ...). Pechorin Prince. Mary is needed as a screen, and at the same time he cannot allow her to prefer Grushnitsky. But in a quarrel between two heroes, this is what is interesting: Pechorin again wants to play by the rules of the little world in which he lives. Rules in a water society are a secular honor. He demands from Grushnitsky to shoot honestly, and gets up first under the shot. To what extent all this for him is conditionally visible from the quarrel: he stands up like a mountain for the honor of Prince. Mary and immediately says to the captain: “Did I hit you so awkwardly in the garden?” Grushnitsky does not stand the test - and dies. By the way, Mary also partly failed to pass the test. Their last explanation echoes Onegin's last explanation with Tatyana. Tatyana says “I love you ...” Pechorin was ready to give up on such an answer, but Mary told him “I hate you ...” Mary is not Tatyana.

According to the idea of ​​Belinsky (and I. Vinogradov), Pechorin never met an “enemy” who would not “spoil” from contact with him, who would be able to oppose something truly imperishable, beautiful and true. If he had met, he might have changed ... But he goes through life as if there is no good, no evil, no law, no conscience - only the satisfaction of his own desires. And the longer he lives like this, the worse he gets. The question about Vera is rhetorical (would he be happy if…) Vera is a romantic unattainable dream, a symbol of his search.

D/Z. Make a final entry about the character of Pechorin. It is possible - starting from the “Foreword to the Journal”: is it really a portrait of the vices of its time? Vices or problems? It would be nice to compare the resulting portrait with the "Duma" - point by point: what account does Lermontov present to his generation in verse, what - in prose? All considerations can be divided into "understandable" and "incomprehensible". Or on "for" and "against" - which will be closer to the class.

Appendix 1. Task cards on the same topic for individual speakers

It was rarely used, usually in a lesson, if you need to “turn off” someone, or check with predilection, or, conversely, if the whole class does not draw out the topic and you need to prepare strong speakers in advance (then it’s better to give cards at home).

Card 1

Read the entries from May 23 to June 6 (the story "Princess Mary") and answer the questions:

1. How does Pechorin destroy the romance between Grushnitsky and Princess Mary (try to note all Pechorin's moves)?

2. How does he make Princess Mary fall in love with himself (the task is the same: follow the sequence of his moves)? What do you think, how plausible is such a game with someone else's soul? Is it possible to control the people of our time (you and your acquaintances) in this way?

3. Reread carefully what Pechorin says to Princess Mary about his youth (July 3). What do you think, is this true or is it being drawn? Did he inadvertently let it slip about himself, or is this also a calculated move? What would you answer him if you were in the place of the princess?

Card 2

Read the end of the story "Taman" (3 paragraphs); entries from June 3 and June 16 - and until the end of the story "Princess Mary" and answer the questions:

1. What does Pechorin think about his fate? Why does he have such thoughts? Do you think he is right?

2. Does Pechorin consider himself a genius? What is a "genius", in his opinion? What do you think, can Pechorin be considered a man of genius, if you use his theory? Do you agree with such a theory? How do you assess Pechorin's abilities?

3. What is ambition? Why does Pechorin believe that his ambition cannot be satisfied? What would he like to be in the world?

4. How do you understand Pechorin's words: "... I ... have lost forever the ardor of noble aspirations ..."? What is this "dust"?

5. What does Pechorin regret on the night before the duel?

6. How does he explain his character in the last lines of the story "Princess Mary"?

Lesson 3

First, we look at the plans for Pechorin. Be sure to read what the author wrote about him in the “Foreword to the Journal”. Be sure to ask the question: well, what is the main reason for all these vices? If you start only from the novel, you get unbelief. Lost faith in higher ideals, truth, moral laws, which ultimately go back to faith in God. Having received such an answer, let us compare it with the Duma. Another reason is named there, historical (or political). In poetry, Lermontov accuses his generation of being afraid to live and act seriously, and therefore remains fruitless, wasting itself on trifles. Can this reproach be transferred to Pechorin? - Yes and no. To accuse him of cowardice somehow does not turn the tongue - he dared to recklessness. But only in those little things that he spends his life on: duels, adventures, risky bets. He does not aim at big goals, being annoyed that he cannot guess such a goal ... Lermontov did not like his time for that, because it did not leave a serious field for his contemporaries-nobles. Or make a career (why?), or have fun as you can, or ... go to a monastery, perform spiritual feats? But this path for an educated and very skeptical nobleman was practically closed. After all, a nobleman is historically either a politician or a warrior. Pechorin is fighting little by little, although he clearly does not see the point in this. And we don't see it in action. As M. Kachurin rightly wrote in his textbook, if Lermontov showed us Pechorin at war, perhaps the title of the novel would no longer sound ironic.

And finally, “The Fatalist,” as was said in the article, is the key to what Pechorin, in fact, is looking for, for what he is acting. He passionately wants one thing - an answer, is there a higher law over us, or is it really just rampant self-will everywhere.

For "Fatalist" There is a detailed set of questions. And to them - a set of children's "leading" answers (2000). Unfortunately, the authorship is not marked everywhere.

– What did Vulich want to prove, how and for what?

He needed all this dispute to win, because he was a gambler ...

He wanted to prove that predestination exists. Vulich had a passion for the game; the fact that he often lost added excitement. But at the moment he won, proving that each of us was assigned a fateful minute in advance, especially since they bet for money, and this added excitement even more. (P. Ivanov, I. Cherentsov)

“I affirm that there is no predestination.” What would really serve as evidence in the game proposed by Vulich?

Everyone thought that his death, but this is hardly serious evidence.

– Why does Pechorin offer such a bet? What is he accused of and how does he justify himself?

Pechorin jokingly offered a bet on Vulich's proposal (forwarding).

Pechorin offered such a bet so that Vulich could prove his fatalism.

I think that at first Pechorin was sure that Vulich would give up the crazy idea of ​​shooting himself in the head, but then he himself regretted it, and he had to make excuses.

Pechorin offers such a bet jokingly, but thinking that Vulich will refuse, being afraid of death, and by this he will prove that there really is no predestination (?)

No one wrote that Pechorin, in a sense, catches everyone at their word and makes them take their principles seriously, confirming this with a risk to life.

– Stars and people in the eyes of Pechorin. Why is this digression necessary in the story?

This digression is necessary in order to show that Pechorin, as a representative of his generation, is deprived of the ability to believe (unlike his ancestors), he can only doubt. Pechorin despised the thoughts of the ancients about the stars. (I. Anokhin)

Pechorin thinks that people used to believe in the stars and thought that the stars were looking at them and helping them. But the stars remain, and people disappear along with their dreams and thoughts. Now people are living, trying to live on their own, struggling with fate, rejecting predestination and heaven. (I. Cherentsov)

Perhaps a digression is needed in order to further explain the meaning of predestination, what it is. (A. Golovko)

How did death find Vulich? What is so special about this scene? How does it echo his bet shot?

It can be said that death found Vulich by accident, but it seems that everything was predetermined, and Pechorin noticed this. The scene is terrifying due to the composure of Vulich and the terrible response of the Cossack. The scene of the lieutenant's death echoes the scene in the major's room in that Vulich, as it were, had already died at the major's, the shadow of death fell on him, and he did not care. (I. Cherentsov)

This is terrible because the Cossack cut Vulich very badly.

Here the Cossack is, as it were, the hand of predestination and performs what did not happen with Major S.

- “I like to doubt everything: this disposition of mind does not interfere with the decisiveness of character - on the contrary ...” How did Pechorin's doubts turn into decisiveness in the scene of the arrest of the Cossack?

Pechorin was not able to believe in something once and for all. Therefore, after the death of Vulich, he never decided for himself whether there is a definition or not. (P. Ivanov)

Pechorin's doubts about whether there is predestination led to the determination to try his luck and capture the Cossack. (S. Starkov)

During the arrest of the Cossack, Pechorin still doubts the existence of predestination and therefore decides to repeat the experience of Vulich in order to prove to himself his (predestination) existence. As if for sure. (P. Ivanov)

Pechorin's doubts turned into decisiveness after a dispute with fate. He argued with whether the Cossack would kill him or not. The bullet missed and Pechorin won. (I. Cherentsov)

- Why did Pechorin decide to repeat the experience of Vulich after he was killed? (Check if he is destined to die). Has he done similar things in other stories?

Pechorin wanted to resolve all his doubts (does he personally have predestination), and therefore he took the risk. (A. Goloulina)

- Did Pechorin want to benefit by his act? Why did he risk his life?

It seems to me that no. Pechorin played with fate like Vulich.

For some reason, there are no answers to the last questions (perhaps they were discussed orally).

- Does Maxim Maksimych believe in predestination?

– What does the plot of The Fatalist have in common with the plots of previous stories? Is there any significant difference?

Why is this story the last in the novel?

We generally know the answers.

Now the question is about the composition - if there are forces and time left for it. In addition to the list of manuals for the exam (separate), I can offer the following fossil topics:

- Moral issues of the novel.

- Philosophical problems of the novel.

- The character of Pechorin: ways to reveal it.

- Demonic and household in Pechorin.

- Destroyer of romantic illusions.

- The role of landscape in the novel.

- The image of the highlanders in the novel.

- The image of the "water society" in the novel.

- Women's characters in the novel.

- The fate of a generation in Lermontov's lyrics and in the novel.

- Lord or instrument of fate?

- Two meetings of Pechorin with Maxim Maksimych (a very old and famous topic).

- Romanticism and realism in the novel.

- Romantic situations in the novel.

- The composition of the novel.

- "History of the human soul" in the novel.

– Portrait and landscape as a means of characterization of characters.

- The originality of Lermontov's psychologism.

There are comparative topics that were often offered in exams:

- Pechorin and Grushnitsky.

- Pechorin and mountaineers.

- Onegin and Pechorin.

- Grushnitsky and Lensky, etc.

Of these, the most significant - Onegin and Pechorin. Perhaps it should be said at the end of the work, so that the concept of “an extra person” settles in everyone’s head, because no one has canceled this type yet, although many grumble about it. This work can be done as a test or the last D / Z: list the commonality between the heroes, the difference and draw conclusions (they are heroes of different times - and what follows from this?)

General: two aristocrats, rich, young, educated, internally free, not feeling any obligations to society and (even more so) to the state, not seeing any goal in their lives, not knowing where to apply their abilities; egoists who do not know how to love and sacrifice, who inspire love and are unhappy in love. Both are indifferent to generally accepted morality and are subject only to the external requirements of the circle in which they rotate. Lermontov consciously repeats the motives and situations of Pushkin's novel: the names of the heroes, the situations of a duel and a young lady in love, the longing of an aimless existence. In both, the authors wanted to impartially show the heroes of their time - with all their vices.

Difference: Onegin changes in the course of the novel, and for the better: at least he learned to love, he saw that secular laws are not morality, and the violation of real ethical laws makes him deeply unhappy and generally leads to disasters. Although at the same time, the hero is not concerned about any eternal questions. Pechorin, on the contrary, is looking for answers about the nature of good and evil, about the criteria for distinguishing them, about the meaning of life, and so on. But he does not find answers and practically does not change in the course of the novel.

Output. They are usually attributed to one type and the reason for the appearance of such characters is considered to be an era that did not give the most independent and original people a chance to realize their talents. This is partly true: Nikolai I He disliked everything independent and original and ruined a lot of talents. But psychologically, these are very different heroes: Onegin, in general, is a kind fellow who is not used to being critical of his habits and actions. He is lazy and not accustomed to work, and therefore there is no question of realizing his talents (and did he have any special talents?). But he is a "good guy". Pechorin, on the contrary, is constantly immersed in introspection and weighs and judges his every act. He is not at all lazy and is always looking for adventure, so as not to get bored in inaction. But he is not one bit kind and incapable of compassion. Of the two, he is much closer to the demonic guise in which Onegin appeared in Tatyana's dream.

The type of "superfluous people" was already identified in the next era, when an era changed in Russian life and other heroes of another time came. They very much insisted that all the "superfluous" nobles were just loafers and white-handed people, relieved by their position as landlords from the need to work and make their way in life. These new people in every possible way denied any continuity between them and the "superfluous" noble "suffering egoists." However, if you look at the continuity of ideas, they all follow the path paved by Pechorin. Only Pechorin doubted the existence of God and certain general (absolute) moral laws, and the youth of the next generation will simply deny them (as we will soon see).

Appendix 2. What kind of person is Pechorin? (2007)

He is very unhappy, sometimes he does not understand why he does such things. He is somewhat selfish, a cynic and even just a sadist.

In fact, the purpose of his life is to bring misfortune to people. In general, this is a desperate person who loves adventure. He is not interested in other people's fates. (N. Kopylov)

It seems to me that Lermontov ... put into the main character for the most part only flammable - like a passion, but only hatred for everyone, for the whole world and people ...

He is able to use an innocent girl (Princess Mary) for the sake of revenge, and then throw away her love, as napkin (emphasis mine). He is an evil and cruel person, but at times there is pity, love, honor in him. (M. Tarasova)

I do not like him for his attitude towards women, his manners, non-recognition of religion (attitude towards God).

And I like decisiveness in him, achieving goals (but not Goals), his fate. (M. Ignatova)

What I like about Pechorin is that he treats everyone and his life easily and cheerfully. He is quite curious and constantly wants to climb somewhere. Thus, he makes everything easy and fun.

But what I don't like about him is that sometimes he goes too far in his games and in the end treats people cruelly and coldly. Although this happens without games. (R. Gulyaev)

The attitude towards Pechorin is very complex. It is absolutely clear that his main actions, his way of thinking will receive a negative assessment from me. However, I didn’t worry about anyone else while reading, because he is real, because he is a person who combines the shortcomings of society, but at the same time Pechorin remains a person. (S. Popov)

Pechorin was a big egoist. He did not notice anyone around him and did not consider those around him to be people. Pechorin could not open his soul to anyone, he did not have a close friend ... Pechorin noticed only himself and went about his business. Everyone who was “friends” with him considered themselves his friends, but he didn’t care about them ... (F. Makarov)

Pechorin amazes me with his ability to hide his own thoughts and feelings from others. He is a very reserved person and true to his habits. He treats others with contempt and treats them with cold-blooded calculation. (R. Legkov)

It seems to me that Pechorin was an egoist. He looks like Onegin at the beginning of "Eugene Onegin". In life, he has no purpose, therefore he does not value anything and does not strive for anything.

For Maxim Maksimych, Pechorin remained a friend, but Pechorin did not appreciate or respect his commander. (T. Ivanova)

He has a vicious personality. (N. Barabash)

I don't really like Pechorin. He's kind of weird. He seems to me to be ill-bred. Pechorin did not notice the people with whom he lived. He plays with life, but does not live ... He does not seem to take into account the people around him, he lives only the way he likes, lives for himself. He doesn't care if it's good or bad for people. He does not see his actions, whether they are good or bad. He lives as he wants. (Katya Artamkina)

Pechorin is reckless, windy, flies from one young lady to another, vindictive. Everything quickly bored him: both social life and travel; falling in love and leaving friends is his habit. He has an empty soul, he cannot do a good job. Wants to go out and have fun. And he who seeks fun and idleness will not find anything, because all fun and idleness will someday get bored. And they do not lead to good.

And since he has an empty soul, he has no purpose. The only good feature of Pechorin is that he has a mind. (Lisa Artamkina)

And some kind of secret cold reigns in the soul,

When the fire boils in the blood.

M. Yu. Lermontov. Thought

I. "A Hero of Our Time" by M. Yu. Lermontov is the first psychological novel in Russian literature, a novel about an outstanding personality. Age of Lermontov in the novel. The complexity of the composition

Before studying the novel “A Hero of Our Time”, one should repeat the facts of Lermontov’s biography related to the history of his two references to the Caucasus, and clarify what facts of the writer’s life influenced the creation of the image of Pechorin. An emotional start to a lesson
be reading one of the climactic scenes of the novel, for example, "Wounding Bela", "Explanation with Mary", "Capture of a drunken Cossack", etc.

Lecture
The main form of work in the lesson is a lecture, during which the following theses will be developed:
1. The main period of Lermontov's work is associated with the era of the 1830s, the time of reaction and social stagnation after the defeat of the Decembrist uprising. The emotional characterization of this era is given in the poem "Duma". The features of his contemporaries, captured in the "Duma", are also characteristic of Pechorin. Therefore, the "hero of our time" is a man of the 1830s.
2. The composition of the novel is specific and complex, which combines the features of romanticism and realism: this is a discrepancy between the plot and the plot, the introduction of various sources of information about Pechorin, the presence of several narrators, the special role of landscape and subject details.
3. The confrontation between Pechorin and society is revealed not in the plot of the novel, but in the form of a “projection” onto the hero’s inner world, images of the states of his soul, although the events are based on a real historical context. Therefore, "A Hero of Our Time" is considered the first Russian socio-psychological novel.
4. Inconsistency is the main character trait of Pechorin, in whose image the originality of a person who stands above the surrounding society, the strength and talent of his thinking and energetic nature, which is realized in active introspection, are combined. The courage and honesty of his character are combined with unbelief, skepticism and individualism, leading to contempt and hostility towards people. The hero is dissatisfied with modern morality, does not believe in friendship and love. But he seeks to decide his own fate and be responsible for his behavior.
5. The main features of the image of Pechorin are helped to reveal the system of images of the novel, each of which in its own way sets off the different facets of the character of the hero. The methodological basis of the work will be problem analysis. To do this, the novel must be read in advance.
At the next stage of the lesson, the preface to the novel can be read and its key points identified.

Questions for discussion of the preface

Paragraph 1. What is the author's opinion of readers and the public? Why does the author accuse the reader, who has just opened the book, of “bad education”?
Paragraph 2. How does the author feel about the reader's assessments of the "hero of our time"? What is the pathos of the author's reasoning?
Paragraph 3. How does Lermontov explain the features of the portrait of the “hero of our time”? What character did he want to show the reader?
Paragraph 4. What is the author's main goal in writing the novel? How does he intend to create a portrait of his hero?

It is interesting to compare the impressions of the preface expressed by the students with the opinion of N. G. Dolinina (Dolinina N. G. Pechorin and our time / N. G. Dolinina. -L., 1975. - S. 14-16), but give for reading and discussion to individual students or groups of small fragments from her comments on the preface (in paragraphs).

II. Content overview

After a brief retelling of the plot of each of the short stories and the most memorable fragments of the novel, it is possible to discuss the features of the genre of each short story:
"Bela" is a romantic short story about the love of a European for a savage. (Compare with Pushkin's poem "Gypsies".)
"Maxim Maksimych" is a realistic narrative of a wandering officer about a hero, whom he had previously learned about from the stories of Maxim Maksimych.
"Taman" is a romantic story about the hero's fleeting infatuation with a girl who is preparing his death.
"Princess Mary" is a secular story with a "love triangle" that ends with a duel of rivals.
"The Fatalist" is a fantastic prose, which is characterized by mystery and the intervention of higher powers.

plot	Plot
Taman	Bela
Princess Mary	Maksim Maksimych
Bela
Fatalist	Taman
Maksim Maksimych	Princess Mary
Preface to Pechorin's diary	Fatalist

Independent work
At the end of the lesson, a small written work on knowledge of the text of the novel is appropriate:
1. From which chapters are these landscapes taken? Argument your opinion.

a) “This valley is a glorious place! On all sides, impregnable mountains, reddish rocks, hung with green ivy and crowned with clusters of plane trees, yellow cliffs, streaked with gullies, and there, high, high, a golden fringe of snow, and below the Aragva, embracing with another nameless river, noisily escaping from a black gorge full of mist stretches like a silver thread and sparkles like a snake with its scales.
(“Bela”, since we are talking about the Koishauri valley.)

b) “A lot of low houses scattered along the banks of the Terek, which runs wider and wider, flashed from behind the trees, and then the mountains were blue with a jagged wall, and Kazbek in his white cardinal's hat looked out from behind them.”
(“Maxim Maksimych”, since “a lot of low houses”, Terek and Kazbek indicate that the action takes place in Vladikavkaz.)

c) “Meanwhile, the moon began to dress in clouds and fog rose on the sea; the lantern on the stern of the nearest ship shone through it; the foam of boulders glittered near the shore, every minute threatening to sink it.
(“Taman”, since the fragment mentions the sea and ships.)

d) “I have a wonderful view from three sides. To the west, the five-headed Beshtu turns blue, like “the last cloud of a scattered storm”; Mashuk rises to the north, like a shaggy Persian hat, and closes this entire part of the sky ... "
(“Princess Mary”, since Beshtu and Mashuk are located near Pyatigorsk and Kislovodsk, where the action takes place.)

e) “I was returning home through the empty lanes of the village; the moon, full and red, like the glow of a fire, began to appear from behind the jagged horizon of houses; the stars shone calmly
on a dark blue vault, and 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! .. "
(“Fatalist”, since the action takes place in the village and in the passage, the author’s philosophical reasoning about the relationship between man and “celestial bodies” is clearly visible.)

2. Who sings these songs and where?
a) As if by free will -
On the green sea
All the ships go
White sailboats.
(Undine girl on the roof of the hut.)

b) We have many beauties in the villages,
The stars shine in the darkness of their eyes.
It is sweet to love them, an enviable share;
But valiant will is more fun.
(Kazbich in a conversation with Azamat at the wattle fence next to his house.)

c) “Our young horsemen are slender, and their caftans are lined with silver, and the young Russian officer is slenderer than them, and the galloons on him are gold. He is like a poplar between us; onlydo not grow, do not bloom for him in our garden.
(Bela at her sister's wedding.)

3. Match the heroes and their clothes:
a) "an officer's frock coat without an epaulet and a Circassian shaggy hat"
(Maxim Maksimych);
b) "beshmet... tattered... and the weapon in silver"
(Kazbich);
c) "striped dress"
(undine girl);
d) "black silk beshmet"
(Bela);
e) “dusty velvet frock coat”, “dirty gloves”
(Pechorin);
f) "closed dress gris de perles", "boots couleur puce"
(Princess Mary);
g) "coat, tie and waistcoat in black"
(Werner);
h) "straw hat", "black shawl"
(Faith);
i) "a gray soldier's overcoat", "epaulettes of incredible size"
(Grushnitsky).

Where does the novel begin and where does it end? a tale about Pechorin?
(In the fortress beyond the Terek.)
How many narrators are in the novel?
(Three. Maxim Maksimych, itinerant officer, Pechorin.)
What is the chronological order of the novels?
("Taman", "Princess Mary", "Bela", "Fatalist", "Maxim Maksimych", "Preface to Pechorin's Journal".)

Lesson summary

• The novel "A Hero of Our Time" is a unique phenomenon in Russian literature.
• The author pays the main attention not to the events and adventures of the hero, who has an extraordinary mind and differs from those around him in that he subjects all people to a moral test, but to the history of his soul, the reasons and motives for his behavior.
• The self-analysis of the characters is subjected to a thorough analysis of the author or narrator in the novel, which indicates that this is a psychological novel.
• The author also shows the social relations between Russians and highlanders, drawing different types of officers of the Russian army who fought in the Caucasus.
• The novel also reflected the Caucasian impressions of Lermontov himself.

Homework
Read carefully the chapters "Bela" and "Maxim Maksimych". Repeat the episode analysis algorithm. Answer in writing the questions on the first two stories (chapters).

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Target: in the process of reading and analyzing the novel, trace the properties of the character of the protagonist, understand the originality of the creation of a psychological image, see its inconsistency, oddities, set out to solve the riddle of Pechorin.

Electronic means: film by A. Kotta "A Hero of Our Time"

visual aids: illustrations and other artists for the novel "A Hero of Our Time"

LESSON 1 The story of "BELA".

Screen Recording:

Vl. Nabokov builds chronological events and the order of the stories:

1. "Taman" (c. 1830) Pechorin is sent from St. Petersburg to the active army and stops in Taman.

2. "Princess Mary" (May 10 - June 17, 1832). Pechorin comes from the active detachment to the waters in Pyatigorsk and then to Kislovodsk; after a duel with Grushnitsky, he was transferred to the fortress under the command of Maxim Maksimovich.

3. "Fatalist" (December 1832) Pechorin arrives for two weeks from the fortress of Maxim Maksimovich to the Cossack village.

4. "Bela" (spring 1833) Pechorin kidnaps the daughter of the "Mirnov Prince", and after 4 months she dies at the hands of Kazbich.

5. "Maxim Maksimych" (autumn 1837) Pechorin goes to Persia, again finds himself in the Caucasus and meets with Maxim Maksimych.

DISCUSSION QUESTION: Why did Lermontov not build the novel in chronological order, but confused and rebuilt everything?

(Answer options are written on the board)

OUTPUT: This is due to the author's attention to the inner world of the hero. The reader is turned to one or the other side of his character, but the character itself does not change, it was formed earlier, and Pechorin himself sometimes explains his actions by “his unhappy upbringing”.

2 SCREEN RECORDING:

“And perhaps tomorrow I will die!.. and not a single creature will remain on earth who would understand me completely. Some revere me worse, others better than I really do. Some will say: he was a good fellow, others - a bastard! .. Both will be false.

WHO IS HE - THE HERO OF LERMONTOV?

Let's take a look at the Preface test.

What epithets do we find in explaining the purpose of the essay? (the vices of the generation, you fool, far more terrible and ugly fictions, bitter medicines, caustic truths, human vices).

What is the character's image? (this is not a hero in a romantic sense, but a portrait of a generation with its vices, immoral acts, without embellishment, about which Lermontov wrote bitterly in the "Duma" (SCREEN RECORDING):

Sadly, I look at our generation!

His future is either empty or dark,

Meanwhile, under the burden of knowledge and doubt,

In inaction, it will grow old ...

And we hate and we love by chance,

Sacrificing nothing to either malice or love,

And some kind of secret cold reigns in the soul,

When the fire boils in the blood.

Output:

This controversial hero, in which a scoundrel and a kind fellow are intertwined, causes both sadness and regret in the author, because this is his contemporary, which means that there is also a particle of Lermontov in him; and his fate, and his useless life will be repeated many times in future generations: “the bitter mockery of a deceived son over squandered father."

Let's turn to the story "Bela"

Here, the staff captain Maxim Maksimovich during the journey - the ascent to the Gud-mountain, the descent into the Devil's Valley, the forced halt in the Ossetian sakla, entertains the companion with a story about his strange colleague - Pechorin.

What surprises and what is incomprehensible to Maxim Maksimovich in Pechorin?

Working with text (quoting, retelling):

His inconsistency: then on the hunt everyone will get tired, chill, but nothing to him. But in the room the wind smells, assures that he caught a cold. Either he is silent for hours, and then he starts talking - you will tear your tummies.

He retells Pechorin's explanations why he quickly gets bored with everything, but explains that all misfortunes come from drunkenness or being spoiled: “what you thought, give, it’s clear that in childhood he was spoiled by his mother.”

Interested in this strange man, we turn to his actions.

How does the hero manifest himself in the story with Bela?

- he liked her immediately when she came up and sang a compliment. 16-year-old, thin, her eyes are black, like those of a mountain chamois, and look into your soul. He figured out how to steal it, and stole it.

In order to win her over, he showered her with gifts, but quickly realized that he needed to turn to her feelings: “Farewell, ..

I am guilty before you ... Maybe I won’t be chasing a bullet for long ... then remember me and forgive me.

He calculated the time when Bela would become his, even argued with Maxim Maksimovich - in a week.

For a while they were happy. But this did not last long. Pechorin got bored with Bela, he began to leave the fortress for a long time.

Bela left the fortress to the river, was captured by Kazbich and mortally wounded. So Kazbich took revenge on Pechorin for the horse. Pechorin struck Maxim Maksimovich with a strange laugh after Bela's death, then he was ill for a long time, and lost weight.

Did these events and actions of the hero clarify anything in Pechorin's character?

- He is a charming person, Maxim Maksimovich fell in love with him like his own son, Bela fell in love with him.

He is a calculating egoist, a talented scoundrel. Guilty for the death of Bela and her family. He acted selfishly and inhumanly with Bela: he traded her for someone else's horse.

He suffers and suffers. The death of Bela left a long mark on his soul.

When he needs, he applies his methods of charm, and no one can resist him, he has a strong strong-willed nature, he knows how to play on human strings.

General conclusion: So, judging by the actions told by Maxim Maksimovich, Pechorin is a mysterious, strange, contradictory person. said about him: "In "Bel" he is some kind of mysterious person, as if shown under an assumed name so that he would not be recognized."

Written task: write an essay "First acquaintance with Pechorin"

LESSON 2 .

The story "Maxim Maksimych"

PURPOSE: To see the hero through the eyes of a narrator-psychologist, to find confirmation of Maxim Maksimych's observations and to get clarifications to some of his contradictions by looking at his portrait.

1. Let's share our thoughts about Pechorin (we read home essays)

3. Work with the text of the chapter.

The meeting with the hero is preceded by a description of the morning. We read it: “The morning was fresh and beautiful. Golden clouds piled up on the mountains, like a new row of air mountains ... ". Against the background of a fresh morning, so long and impatiently waiting (together with Maxim Maksimych) appears - is he. Perhaps there is some hidden meaning in this?

Yes, he is clearly indifferent to the beauty of the morning: he yawned twice and sat down on the bench on the other side of the gate.

Let's read the portrait of Pechorin and note in it the features of his personality. (The ability to endure the difficulties of a nomadic life, the habits of a decent person, the secrecy of character, nervous weakness, a childish smile, his eyes did not laugh when he laughed - a sign of either an evil disposition, or a deep constant sadness, a look might have seemed impudent if he had not been so indifferently calm).

What in the portrait of Pechorin immediately catches your eye?

Yes, and the portrait emphasizes inconsistency. We will confirm this with observations: we will compile a table of contradictions.

Broad shoulders - female hands

Children's smile - penetrating heavy look

Youthful appearance - Wrinkles that cross one another

Blond hair - Mustache and black eyebrows

Gait is careless and lazy - Does not swing his arms

Strong physique - Straight frame bent as if there was not a single bone, etc.

What in his attitude to Maxim Maksimych surprised and amazed you?

Indeed, it is so indifferent, cold to meet an old friend, to refuse to talk, to remember the old life. Bel. Stop! At the name of Bela, Pechorin turned pale and turned away. He didn't forget anything! Can we explain his behavior now?

Yes, he is going to Persia and will never return. Remember, he told Maxim Maksimych in the fortress: "As soon as possible, I will go ... to America, to Arabia, to India - maybe I will die somewhere along the way." Is it up to him to talk, to memories? Even the diaries are no longer needed - he breaks the connection with everything that was dear ...

What is your opinion about Pechorin now? (Strange, sad, lonely, tired, secretive, devastated, indifferent to both the past and the future, surprisingly cute, evoking sympathy and interest)

Write about this essay.

(In the remaining time, we watch an episode of Kotta's film "A Hero of Our Time" "Bela")

The system of lessons based on the novel by M.Yu. Lermontov "A Hero of Our Time"

The system of lessons proposed for the textual study of the novel by M.Yu. Lermontov’s “A Hero of Our Time” does not violate the author’s sequence of parts of the novel, this is due to the fact that it is such a “torn” composition that is emphatically significant, the change of narrators not only gradually opens Pechorin to the reader, but also justifies the hero more and more.From the external, condemning and impenetrable look of Maxim Maksimych through the objective, albeit attentively sympathetic look of the wandering officer to the tragic confession of the hero - such is the sequence of development of the author's assessment in the novel. It is impossible to ignore it, becausethis leads to shifts in the meaning of the work in the reader's mind.

Lessons devoted to the sequential consideration of parts of the novel are organized so that students can, following the author, consider the features of the character of the protagonist, try to understand the motive and reasons for his actions, which will ultimately lead to an answer to the question: what is the peculiarity of the psychological novel.

Lesson 1. Hero of our time ”M.Yu. Lermontov is the first psychological novel in Russian literature.

Lesson 2

Lesson 3 Pechorin's journal as a means of self-disclosure of the character of the protagonist.

Lesson 4 . Pechorin in the system of male images of the novel. Friendship in the life of Pechorin.

Lesson 5 . Pechorin in the system of female images of the novel. Love in the life of Pechorin.

Having outlined a general plan for studying the novel, we will consider, using examples of specific lessons, the features of studying the psychological novel. This system of lessons is built on the basis of the curriculum edited by V. Ya. Korovina.

Lesson 1"Hero of our time" M.Yu. Lermontov is the first psychological novel in Russian literature.The complexity of the composition of the novel. Age of Lermontov in the novel.

The purpose of the lesson: - arouse interest in the novel by M.Yu. Lermontov.

Tasks:

• to remind students about the main characteristic features of the life of Russian society in the 30s of the XIX century, about the fate of the younger generation of this time;
• to acquaint with the ideological concept of the novel "A Hero of Our Time" and the subsequent literary-critical reviews on the release of the work;
• comment on the most important features of the work: the psychologism of the novel and its composition (lack of a single plot, violation of the chronological order in the arrangement of parts of the work, the presence of three narrators in the novel - the author, Maxim Maksimovich and Pechorin).

Lesson type - a lesson in the assimilation of new knowledge.

During the classes

Epigraph to the lesson:

"A Hero of Our Time" is by no means a collection

several stories and short stories - this is a novel,

In which there is one hero and one main idea,

Artistically advanced.

V. G. Belinsky

I. Opening speech of the teacher.

Roman M.Yu. Lermontov "A Hero of Our Time" was conceived by the author at the end of 1837. The main work took place in 1838, and the novel was fully completed in 1839. Soon, his first chapters appeared in the Otechestvennye Zapiski magazine: the story “Bela” was published in 1838 with the subtitle “From the notes of an officer from the Caucasus”, at the end of 1839 the following story was published - “The Fatalist”, and then the story was published. Taman".

To his new novel M.Yu. Lermontov first gave the name "One of the heroes of the beginning of the century." However, in 1940 a separate edition of the novel was published already under the title "Hero of Our Time".

The 1830s-1840s in the history of Russia, when the action of the work unfolds, are dark years, marked in history as the years of the Nikolaev reaction, the years of the most brutal police regime. First of all, the situation of the people was unbearable; the fate of advanced thinking people was especially tragic. Feelings of sadness in young Lermontov were caused by the fact that "the future generation has no future." Passivity, disbelief, indecision, loss of purpose in life and interest in it are the main features of the young contemporaries of the writer.

Lermontov in his work wanted to show what the Nikolaev reaction doomed the younger generation to. The very title of the novel, A Hero of Our Time, is a testament to its importance.

Assessing the novel by M.Yu. Lermontov, A.I. Herzen wrote: “In the image of Pechorin, Lermontov gave an expressive realistic and psychological portrait of “modern man, as he understands him and, unfortunately, met him too often.”

Pechorin is a richly gifted nature. The hero does not overestimate himself at all when he frankly says about himself: "I feel immense strength in my soul." With his novel, Lermontov gives an answer to the question: why do energetic and intelligent people not find application for their remarkable abilities and thus “wither without a struggle” at the very beginning of their life path? The author pays the closest attention to the main character, to the disclosure of his complex and contradictory nature.

In his preface to Pechorin's Journal, Lermontov writes: "The history of the human soul, even the smallest soul, is almost more curious and more useful than the history of a whole people ...". Thus, the author explains the peculiarity of his work: “A Hero of Our Time” is the first Russian psychological novel.

1. vocabulary work

The dictionary of literary terms gives the following definition of a psychological novel:a psychological novel can be called such a novel, where the attention of the author and the reader is focused on the knowledge of the human soul in all its manifestations.

- Name the defining characteristics of the psychological novel.

Methods for creating psychologism can be self-reflection (introspection) of the hero, assessment of the hero's actions from the positions of other characters, author's analysis of character. In his work, Lermontov uses all these techniques, which makes the work deeper.

II. Finding out the initial impressions of students about the novel "A Hero of Our Time".

• Conversation with the class

1. Which of the stories you read that make up the work made the greatest impression on you?
2. Tell us about your relationship with the main character.
3. What events from the life of Grigory Pechorin did we learn about after reading the chapter “Bel”?
4. On whose behalf is this chapter being narrated? What role does this play in the story itself?
5. Who is Maksim Maksimych, on behalf of whom the narration is being conducted in the chapter "Bela"? What can you tell about it?
6. Is Maxim Maksimych the person who is able to understand Grigory Pechorin?

III. Features of the composition of the novel

Questions:

1. What is the plot of a work of art?

2. What plot elements do you know?

3. What is called the composition of a work of art? What compositional techniques have you met before while studying the works?

4. What is the peculiarity of the composition of the "Hero of Our Time"? Is it possible to highlight elements of the plot that you already know in it?(A feature of the composition of the novel is the absence of a single storyline. The novel consists of five parts or stories, each of which has its own genre, its own plot and its own title. But it is the image of the main character that becomes unifying: he connects all these parts into a single novel.)

5. Consider the difference between the chronological and compositional order that is observed in the novel.

The chronological order is as follows: Pechorin goes to his place of service, but on the way he stops in Taman, then on the way to his place of service he visits Pyatigorsk, where he was exiled to a fortress for a quarrel and a duel with Grushnitsky. In the fortress, events take place with him, which are described in the stories "Bela" and "The Fatalist". A few years later, Pechorin meets with Maxim Maksimych.

Chronologically, the stories should be arranged as follows:

1. "Taman".

2. "Princess Mary".

3. "Bela".

4. "Fatalist".

5. "Maxim Maksimych".

However, M.Yu. Lermontov in his work violates the order of the stories. In the novel they follow this way:

1. "Bela".

2. "Maxim Maksimych".

3. "Taman".

4. "Princess Mary".

5. "Fatalist".

The last three stories are the protagonist's diary, which shows the story of his life, written by himself.

Questions:

1) Why does Lermontov build his novel this way?

2) What does such a composition of the work make the reader think about?

3) In what form are the first two stories written? What is special about the next three stories?

Findings. “Pechorin is the main character of the novel. The actors are located in contrast. The point is to emphasize: Pechorin is the center of the story, the Hero of his time. The composition of the work (the change of narrators, the violation of the chronology of events, the genre of travel and diary notes, the grouping of characters) helps to reveal the character of Pechorin, to identify the reasons that gave rise to him.

Thus, the chosen composition of the novel provides the author with the following opportunities:

To interest the reader as much as possible in the fate of Pechorin;

trace the history of his inner life;

The image of Pechorin in the novel is revealed in two ways: from the point of view of an outside observer and in terms of his inner disclosure.

IV. Literary and critical reviews of M. Yu. Lermontov's novel "A Hero of Our Time".

1. S. Burachek : Pechorin - "monster", "slander on a whole generation."

2. S. Shevyrev : "Pechorin - there is only one ghost thrown at us by the West."

3. V. Belinsky : "Pechorin ... the hero of our time."

4. A. Herzen : "Pechorin -" the younger brother of Onegin ".

Questions:

1) Which of the literary critics, in your opinion, is more objective in assessing Grigory Pechorin?

Reading the preface.

(“... The Hero of our Time, my gracious sirs, is like a portrait made up of the vices of our entire generation, in their full development ...”)

Homework

1 . The stories "Bela", "Maxim Maksimych". (Heroes, content, features of composition and genre, attitude to Pechorin.)

2. Make a plan for the story "Bela", title all its parts.

Lesson 2Pechorin as a representative of the portrait of a generation. Mysteries of the image of Pechorin.

The purpose of the lesson: acquaintance with Grigory Pechorin as the main character of the work.

Lesson objectives:

• to form in students the ability to characterize the heroes of a literary work by their actions, in relation to others, according to the author's assessment;
• help students in the course of analyzing the work to see the originality of the character of the protagonist;
• improve the skills of working with a literary text: the ability to navigate the content of the text, select the necessary text material, compare, contrast, argue one's point of view;
• to cultivate interest in the spiritual world of the heroes of fiction, to promote moral education, the education of interest in the work of M.Yu. Lermontov.

During the classes

1. Teacher's word:

“And perhaps tomorrow I will die!.. and not a single creature will remain on earth who would understand me completely. Some revere me worse, others better than I really do. Some will say: he was a good fellow, others - a bastard! .. Both will be false.

Why does the hero of the novel talk about himself like that? What gave rise to such a conclusion? Who is he - the hero of Lermontov?

To answer this question, it is necessary to refer to the text, because it is the author himself who can give the most accurate answer to these questions. Let us turn to the text of the story "Bela". At home, you made the plan for the first chapter. Now we will select only those episodes that are the most important for understanding the character of Grigory Pechorin.

1. Maxim Maksimych's story about Pechorin.
2. Pechorin and Bela. (History of relationships before the abduction).
3. Pechorin and Bela. Love and death of the heroine.
4. Pechorin against the background of other heroes of the story.
5. Pechorin's confession.
6. Landscape sketches.

1. Analysis of the literary text of the stories "Bela" and "Maxim Maksimych"

• Work in creative groups (individual tasks for each group)

The class is divided into several groups in accordance with the task, each group receives a task for a text study of a certain episode. Answering the questions posed by the teacher, students must show a good knowledge of the text, provide the necessary quotes and draw an appropriate conclusion.

1. Group - The story of Maxim Maksimych about Pechorin.

1. What is the link between the hero and the narrator and what separates Pechorin and the narrator?

2. In what episodes does the character trait of a Russian person appear in Pechorin?

3. What is Pechorin's attitude towards Bela?

4. How does Maxim Maksimych see Pechorin?

5. What is the first thing that surprises and what is still incomprehensible to Maxim Maksimych in Pechorin itself?

6. How do we see Pechorin in this episode? Draw a conclusion about the main character traits of the hero.

2 group - Pechorin and Bela. (The story of the relationship between two heroes before the abduction).

1. Where and under what circumstances did Pechorin first see Bela?
2. What impression did they make on each other at the time of the first meeting?
3. What are the consequences of the overheard conversation between Kazbich and Azamat?
4. How do we see Pechorin in this episode? Draw a conclusion about the character of the hero.
5. What artistic technique does M.Yu. Lermontov to describe the image of the hero?

1. Group - Pechorin and Bela. Love in the life of Pechorin.

1. How did Bela end up in the fortress in which Pechorin served?
2. What was Bela's behavior in the first days after her abduction?
3. How did Pechorin achieve Bela's love?
4. Why did Bela still respond to Pechorin in return? (be sure to pay attention to the description of Bela's beautiful eyes given by Maxim Maksimych).
5. How does Pechorin appear to the reader in these chapters? Draw a conclusion about the character of the hero.
6. What artistic technique does M.Yu. Lermontov to describe the image of the hero?

1. Group - Pechorin and Bela. Death of a heroine. 1. Why did Pechorin lose interest in Bela so quickly? How did this manifest itself in his relationship with the girl? (Cite the words of the hero)

2.How did Bela die?

3. How can Pechorin's behavior after Bela's death be explained? In what way does this characterize him?

4. How does Lermontov show his hero? Draw a conclusion about the character of the hero.

5 group - Grigory Pechorin in the circle of other other heroes of the story.

1. How do Kazbich and Azamat appear before the reader? What can be said about the features of their character?
2. How does Pechorin behave in a conflict with Kazbich? How does this characterize him?
3. What role did Pechorin play in the fate of Azamat?
4. Make a conclusion about the character of the hero by comparing him with Kazbich and Azamat.
5. What artistic technique does M.Yu. Lermontov to describe the image of the hero?

6 group - Pechorin's confession. Reading a fragment from the words: "Listen, Maxim Maksimych ..."

1. Choose words that convey Pechorin's disappointment in life. Comment on them.

2. What, according to Pechorin himself, is the reason for his boredom and disappointment?

3. What makes Pechorin related to the main character of the novel by A.S. Pushkin "Eugene Onegin"

4. Why can't Pechorin be happy in his environment?

5. What artistic technique does M.Yu. Lermontov to describe the image of the hero?

(In his monologue, Pechorin seems to open his inner self: the pleasures of life, love, reading - nothing has ever brought him satisfaction. However, he has an indefatigable and insatiable thirst for the new, “restless imagination”, “insatiable heart.” Going on his long journey, he seeks not tranquility, but "storms and bad roads.")

7 group - The role of landscape sketches in the story.

1. Choose the most vivid landscape sketches in your opinion.
2. Pay attention to what pictures of nature M.Yu. chooses. Lermontov for his description?
3. What is the connection between the landscape sketches created by the author and the image of the protagonist and the event outline of the work itself?

(The majestic pictures of mountain nature are filled with lyricism, a sense of the extraordinary beauty and poetry of the surrounding world. Against the background of the complete harmony present in nature, the discord with life and anxiety of Pechorin himself are brightly set off. In addition, the majesty and rebelliousness of the beautiful Caucasian landscapes brightly and significantly not only emphasize , but also enhance the rebelliousness of Lermontov's hero, his proud spirit.)

8 group - The image of Grigory Pechorin in the story "Maxim Maksimych"

1. Retell the scene of the meeting between Pechorin and Maxim Makimych.
2. On behalf of whom is the story being told in this part of the novel?
3. How does the narrator see Grigory Pechorin at the moment of meeting with Maxim Maksimych?
4. Find in the text the details characterizing the psychological state of Maxim Maksimych, who is waiting for Pechorin.
5. Read the episode of Pechorin's meeting with Maxim Maksimych from the words "I turned to the square and saw Maxim Maksimych running as fast as he could" to the words "his eyes filled with tears every minute." By what means does the author draw the psychological state of Pechorin and Maxim Maksimych? Try to comment on the subtext of their dialogue.
6. What impression does Pechorin make on the reader?

1. Teacher generalization

In the first and second stories, which begin the novel, the main character Pechorin appears as a person who embodies conflicting qualities. The character of Pechorin remains a mystery, because the motives of his actions are hidden from the reader. In the first story, the hero is described through the perception of the narrator - an elderly staff captain who, for a number of reasons, is not able to explain the character and actions of Pechorin. In the second story, we see Pechorin through the eyes of a completely stranger. And he has many questions when trying to explain some of the actions of the hero.

Today we also tried to figure out the character of the protagonist ourselves.

1. Reflection

Let's try to expresshis vision of the hero in cinquain.

conclusion in the form of a noun (association with the first word).

1. Homework.

1. Write an essay "First acquaintance with Pechorin"
2. "Taman", "Princess Mary", "Fatalist" - read

Lesson 3 Lesson topic: Pechorin's journal as a means of self-disclosure of the hero's character.

The purpose of the lesson: to determine the significance of the "Pechorin Journal" for revealing the inner world of the protagonist.

Tasks:

• To teach critical comprehension (analysis, comparison) of a literary work.
• To form information and communication competence of students.
• To cultivate independence, the ability to interact in a team, a culture of communication.

Equipment: multimedia: presentation, excerpts from the film

During the classes

I. Organizational moment

Teacher's word:

In the first chapters of "Bela" and "Maxim Maksimych" Pechorin is shown as a very controversial person, a man who does not know how to sympathize, he is used to fulfilling only his desires. Those character traits that we discovered for ourselves in Pechorin in the first stories, spiritual callousness, indifference, inability to value friendship and love, make this image unattractive. However, such a negative assessment of this image would be quite shallow and somewhat unambiguous, if, with close attention, one does not notice touches of sadness in his image, notes of some kind of hopelessness. In order to more fully understand the image of Pechorin, one must first of all understand his soul, his entire inner world, many of the motives for his behavior and actions. Pechorin's Journal will help solve this particular riddle.

II. Knowledge update. Preparing for the perception of new material

1. Conversation with the class

Before we proceed to the analysis of the following stories of the work, let's once again recall the features of the composition of the novel by M.Yu. Lermontov.

List the chapters in plot and chronological order.

Was M.Yu. accidentally refused? Lermontov from the chronological principle in the arrangement of the stories included in the novel, from the order of their initial publication?

Explaining this feature of the author's narration, the well-known literary critic Yu.M. Lotman writes: “Thus, the character of Pechorin is revealed to the reader gradually, as if reflected in many mirrors, and not one of the reflections, taken separately, gives an exhaustive description of Pechorin. Only the totality of these arguing voices creates a complex and contradictory character of the hero.

From whose lips do we learn about the fate of the protagonist? (there are three narrators in the novel: Maxim Maksimych in the chapter "Bela", a wandering officer in the chapter "Maxim Maksimych" and Pechorin himself.)

How does Pechorin appear in the assessment of Maxim Maksimych? Give examples from the text.

- How do we see the main character in the assessment of the second narrator - the wandering officer? Give examples from the text.

This is how we see the main character through the eyes of Maxim Maksimych and the wandering officer.

Do we fully understand the hero after we have considered the point of view of both Maxim Maksimych and the wandering officer?

III. Work with text

1. teacher's word

The first two stories, as the narrator himself notes, are travel notes, it is no coincidence that he writes on this occasion: “I am not writing a story, but travel notes.” Therefore, the main character appears before the reader from the outside: he is introduced to us by Maxim Maksimych and the wandering officer. But the following stories are Pechorin's diary - "Pechorin's Journal", as these chapters are called in the novel. It is they who make it possible to explain many mysteries in the character of Pechorin.

1. Dictionary work (work with the term)

A diary is a record of a personal nature, in which a person, knowing that they will not become known to others, can state not only external events, but also internal movements of his soul hidden from everyone.

Pechorin was absolutely sure that he was writing "this magazine ... for himself", which is why he is so open in their descriptions.

- What parts does Pechorin's Journal consist of? ("Taman", "Princess Mary" and "Fatalist")

3 . Drawing up a characteristic of Pechorin

Analyzing the stories that make up Pechorin's Journal, it is necessary to consider how the hero's inner world is revealed.

• Analysis of the story "Taman"

What is the content of this story? (short storyline)

How does Grigory Pechorin appear before the reader in this part?

Why does the hero's activity bring misfortune to the people around him? With what feeling does Lermontov’s hero pronounce the words: “Yes, and what do I care about human joys and misfortunes?”

What features of the character of the hero are revealed in the story "Taman"?

(students independently write down the main qualities of Pechorin's character, manifested in the story "Taman", then there is a collective discussion of the assumptions put forward)

• Analysis of the story "Princess Mary"

- Many literary critics believe that it is in this story thatthe spiritual world of Pechorin is most fully revealed. What is your opinion on this matter?

What kind of society surrounds the protagonist this time? How is it different from mountaineers and smugglers?

What is the reason for the conflict that occurred between the secular society represented in the story and Pechorin?

Why did Pechorin need to achieve the love of Princess Mary if he never intended to marry her?

How does this characterize Pechorin?

Can it be argued that Pechorin is still capable of love? Prove your point with supporting text.

This quality is especially clearly manifested in the episode of the insane, desperate chase on a furiously galloping horse for the irrevocably gone Vera. (reading an excerpt)

What are Pechorin's views on friendship? How is Pechorin characterized by his relationship with Werner and Grushnitsky?

What feature of Pechorin's character can we single out in this story?

(students independently write down the main qualities of Pechorin's character, manifested in the story "Princess Mary", then there is a collective discussion of the assumptions put forward)

• Discussion of the story "The Fatalist"

What is fatalism and who is a fatalist?

vocabulary work

Fatalism - belief in a predetermined, inevitable fate. The problem of fate, predestination, worried Lermontov's contemporaries. Pechorin was also worried about this problem. Is there a destiny? What influences a person's life?

What events related to Pechorin take place in this story?

What is Pechorin's attitude to predestination in fate?

What is the main character in this story?

What character traits are especially clearly emphasized by Lermontov in his hero?

What actions of the hero confirm your assumptions?

(students independently write down the main qualities of Pechorin's character, manifested in the story "The Fatalist", then there is a collective discussion of the assumptions put forward)

IV. Summarizing conversation

1. Working with a compiled table

Analyze your observations, compare them with the results recorded in the table, and draw a conclusion: how does Grigory Pechorin appear before us in the Journal?

2. Analysis of a literary text

Expressive reading of a passage(“…why did I live? For what purpose was I born?…”)

- Pay attention to when and why the hero says these words, what feature of the hero's character do they emphasize?

- Why can't Pechorin find meaning in life?
(An outstanding personality, endowed with intelligence and willpower, a desire for vigorous activity, cannot manifest himself in the life around him. Pechorin cannot be happy and cannot give happiness to anyone. This is his personal tragedy.)

V. Homework

1. Compose a message on topics:

Maxim Maksimych and Pechorin

Pechorin and Grushnitsky

Pechorin and Werner

Vulich and Pechorin

Lesson 4Pechorin in the system of male images of the novel. Friendship in the life of Pechorin.

The purpose of the lesson: reveal the complexity and inconsistency of the image of Grigory Pechorin in the system of male images of the work.

Lesson objectives:

During the classes

... I am not capable 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. Introductory speech of the teacher

About fifteen lifetime images of M.Yu. Lermontov, but none of them individually makes it possible to fully present the personality of the poet. “The point, apparently, is not in the portrait painters, but in the elusive features of the poet,” commented on this understanding of Lermontov’s personality, the researcher of his work I. Andronikov.

Look carefully at two portraits of M.Yu. Lermontov. The authors of these works are the artists K. Gorbunov and P. Zabolotsky. Look closely at each portrait. They say that "the eyes are the mirror of the human soul."

1. Conversation with students

What do Lermontov's eyes say?

What do you think, can such a person have friends? Is it easy to communicate with him?

It is not always easy to communicate with such a person. Isn’t that why Lermontov himself, through the mouth of his hero Pechorin, says: “I am incapable of friendship: of two friends, one is always the slave of the other.... ". It is about whether friendship took place in Pechorin's life that we will talk about today in the lesson.

1. Work on the topic of the lesson

1. Group work

• 1 group - Pechorin and Maxim Maksimych

1. How do Pechorin and Maxim Maksimych relate to each other? Choose keywords for your abstracts and back each one up with a quote.
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?

(reread carefully the scene of the meeting between Pechorin and Maxim Maksimych from the chapter "Maxim Maksimych".)

1. What feelings did Pechorin's confession, beginning with the words "... I have an unhappy character," evoke in Maxim Maksimych?
2. Draw conclusions about the relationship that has developed between Pechorin and Maxim Maksimych.

• Group 2 - Pechorin and Grushnitsky

1. Carefully reread the entry made in Pechorin's journal of June 5. What was the main cause of the conflict between Pechorin and Grushnitsky? Why was Grushnitsky’s character unpleasant for Pechorin, and why did others not notice this attitude?
2. Comment on the behavior of Grigory Pechorin and Grushnitsky during the duel. What can be said about their characters: the nobility and baseness of their actions?
3. What is the compositional meaning of the image of Grushnitsky in the novel?

• Group 3 - Pechorin and Werner

1. Reread the excerpt from the conversation between Pechorin and Werner in the Diary of May 13. What do both heroes have in common in intellectual development and in their attitude to life?
2. How did the duel between Pechorin and Grushnitsky affect the relationship between the characters?
3. What is the role of the image of Werner in understanding the character of Pechorin?

• Group 4 - Pechorin and Vulich

1. What is the role of the image of Vulich in the novel?
2. Compare the behavior of Pechorin and Vulich in different situations and draw a conclusion: what unites the characters?
3. Why does Vulich still die, but Pechorin remains alive? What is the artistic meaning of such an unusual author's position?

1. Summarizing conversation

1. teacher's word

The male images of the novel that appear next to Pechorin in the course of the story are his counterparts and antipodes. But all of them, undoubtedly, are lower than him in intellect, their souls are less deep, their character is weaker, they lack the ability for introspection, which has always been characteristic of Pechorin.

After analyzing the relationship that the main character develops with the male images of the novel, the question arises: “Why didn’t Pechorin develop friendly relations with any of them?” Where could Pechorin's life principle "In friendship, one slave of another" come from?

1. Reading and discussion of an excerpt from the story "Princess Mary"

“Everyone read on my face signs of bad qualities that were not there: but they were assumed - and they were born: no one caressed me, everyone insulted me: I became vindictive. I became envious…”

What is Pechorin trying to explain in his own words?

At what point does he say these words?

Can you be sure that at this moment Pechorin is frank?

1. Lesson summary
2. Homework

1. Prepare material for the topic “Love in the life of Pechorin. Female images of the novel and their role in revealing the character of Pechorin.

1st group. Pechorin and Bela

2nd group. Pechorin and the undine girl

3rd group. Pechorin and Mary

4th group. Pechorin and Vera

Lesson 5. Topic of the lesson: Pechorin in the system of female images of the novel. Love in the life of Pechorin

The purpose of the lesson: to reveal the complexity and inconsistency of the image of Grigory Pechorin in the system of female images of the work.

Lesson objectives:

• to summarize the knowledge gained by students about the image of the protagonist of the work of M.Yu. Lermontov and reveal her main character traits;
• to involve students in active cognitive activity;
• development of logical thinking of students through the organization of independent work in the classroom.

I have never become the slave of the woman I love.

M. Yu. Lermontov. "Hero of our time"

During the classes

1. Knowledge update

1. Conversation with students

Today in the lesson we will continue to study the unusually unique novel by M. Lermontov "A Hero of Our Time"

What is the uniqueness of this work? (this is the first psychological novel in Russian literature)

What is the main object of study in the psychological novel?

A psychological novel is a kind of novel in which the main goal is to depict and study the “inner world of a person”, in this work the object of study is Pechorin, because it is he who, as the author himself said,"a portrait made up of the vices of our entire generation."

1. Determining the theme of the lesson and setting goals

1. teacher's word

Pechorin is a complex psychological image. The author reveals this image in different ways: one of the ways to reveal the image is to analyze the relationship of the hero to the people around him. In the last lesson, we analyzed Pechorin's relationship with Maxim Maksimych, with Werner, with Grushnitsky and came to the conclusion that Pechorin does not know how to value friendship. Perhaps it is no coincidence that in his Diary he writes: “... My first pleasure is to subordinate everything that surrounds me to my will; arouse to oneself a feeling of love, devotion and fear - is not this the first sign and the greatest triumph of power.

Lermontov also takes his hero through a test of love, since, according to the writer himself, this is the highest human value.

What do female images help to understand in Pechorin? This question will be the main one in today's lesson.

“Female images in the novel “A Hero of Our Time” were a success for Lermontov,” this is how the famous literary critic of that time V.G. Belinsky.

Indeed in this workseveral central female images are presented. First of all, this is Vera, a secular married lady, who is connected with Grigory Pechorin by a love story back in the days when the young hero lived in St. Petersburg. This is also Princess Mary Ligovskaya, a relative of Vera, whom Pechorin meets during his stay in Kislovodsk and, because of the boredom that gripped him, makes the girl fall in love with him.

This is also the daughter of the Circassian prince Bel, who was kidnapped by her own brother and given to Pechorin as a concubine. And, finally, this is a girl whom the hero himself called Undina, that is, a "mermaid" - the beloved of the smuggler Yanko, a casual acquaintance of the protagonist of the novel, who appeared in the story "Taman".

And each of these female images sets off a specific feature in the character of the hero and performs its own compositional function.

1. Work on the topic of the lesson

1. Group work

• Group 1 - Pechorin and Bela

1. Remember the story of Pechorin's acquaintance with Bela.
2. Why does the girl first reject Pechorin's love?
3. By what methods did Pechorin achieve Bela's love? Why, however, did he soon lose interest in her? Did he really love her?
4. What is the role of Bela's appearance in understanding Pechorin's character?

• Group 2 - Pechorin and Undine

1. Recall from the content of the story how Pechorin met this girl? What impression did she make on him?
2. In what way was the Undine girl superior to Pechorin and in what way was she inferior to him? Prove your thoughts with quotes from the text.
3. What is the compositional role of this image in the novel? What character traits of Pechorin does she help to understand?

• Group 3 - Pechorin and Princess Mary

1. If in the situation with Bela Pechorin behaves like an egoist, then how does he change in relations with Mary?
2. What does Pechorin honestly say about himself in his last conversation with Mary?
3. What is the moral superiority of Mary over Pechorin? Confirm your opinion with quotes from entries made in Pechorin's diary of June 3, 12.

• Group 4 - Pechorin and Vera

1. How do you think Vera differs from previous heroines. Describe her.
2. Describe the feelings of Pechorin and Vera for each other. Confirm your thoughts with quotes from the entries made in the Diary of May 16 and 23, as well as from Vera's letter to Pechorin after the duel and the episode of the hero's pursuit of Vera.
3. What did Vera sacrifice for Pechorin?
4. Can you say that Vera loved Pechorin?
5. Why did Pechorin treat her differently than the others?
6. What episode in the text says that he is afraid of losing her.
7. How does the image of Vera help to understand the character of Pechorin?

1. Summarizing conversation

1. Conversation with the class

The fate of all female images is, in the end, distorted: Bela dies, Mary suffers, Vera flees from love ...

Why is Pechorin's relationship with the people he loved, with whom he was close, so tragic? Prove your opinion with the text of the work.

How does the hero himself try to explain this situation?

1. teacher's word

So, all the female images in the novel play an important role: with their help, Lermontov shows that Pechorin is lonely in any environment, he cannot find peace even in such a deep feeling as love. Women, no matter what circle they belong to, can captivate him only for a moment, but he cannot completely surrender to this feeling, and this is his tragedy.

V1. Lesson summary

1. Teacher's words

The female images in the novel are certainly higher, cleaner than Pechorin himself. All the heroines in the novel are women “with a strong character”, therefore they are more whole, sincere, decisive natures, they, unlike Pechorin, know how to love and feel deeply.

In addition, we see that life confronts Pechorin with a variety of people. He does not wish harm to anyone, but still causes it. The surrounding people for the hero are only a means to satisfy curiosity, disperse boredom or experience new adventures. He is selfish. “He is in the first place,” writes V.G. Belinsky - always himself, his desires.

VI1. Homework

1. Read the article by V.G. Belinsky about the novel by M.Yu. Lermontov "A Hero of Our Time".
2. Write out quotes that characterize Pechorin.

Literature program for grades 5-11 / ed. V.Ya. Korovin. - Moscow: Education, 2013. - 43 p.