"A Hero of Our Time" is a socio-psychological novel in which the author set himself the task of revealing inner world hero, "to explore the human soul." Lermontov is a romantic, so the problem of personality is central problem romanticism and, of course, the work of the poet. However, the innovation of the "Hero of Our Time" lies in the fact that the conflict between the individual and the surrounding world is resolved using a variety of means, both romantic and realistic.
Pechorin main character novel, is a social type. Traditionally, after Onegin, he is placed in the gallery of "superfluous people".
The images of Pechorin and Onegin have a lot in common, ranging from details, character traits, to the situations in which they find themselves. However, the conflict between the individual and society in "A Hero of Our Time" is sharper than in "Eugene Onegin", since Pechorin "chases furiously for life", but does not receive anything from it, and Onegin simply "goes with the flow".
The composition of the novel is subordinated to the main task that the author set himself - the solution to the problem of personality. In Pechorin's journal, the story "Princess Mary" is central, in which the character of the hero is revealed from the inside, that is, Lermontov uses such an artistic device as confession. All artistic media - portrait, landscape, dialogue, detail - are psychological character. In the story with the help of expanded figurative system the secret of the character of the hero is revealed.
Lermontov, like many romantics, contrasts the individual and society, and he places his hero in different environments, confronts him with different people. We can see this in the stories "Bela", "Taman" and "Princess Mary".
In the psychological story "Princess Mary", Pechorin's personality is opposed to the "water society", the hero's attitude to this society and society in general is shown. " water society" - This collective image representatives of the local and metropolitan nobility, in whose behavior and life all character traits the era being described. The conflict between the individual and society was embodied not only in the disclosure of the character of the protagonist, but also in the depiction of the "water society", their life, interests, and entertainment.
Pechorin, with slight contempt, notices the carefully concealed envy of each other, the love of gossip and intrigue. The life and customs of visitors to the Caucasian mineral waters, over which both the author himself and the main character are ironic, are conditioned by history and traditions. The image of the "water society" is also given in parallel with the image of a secular society, which Pechorin mentions and which has been the object of research more than once in the work of Griboyedov and Pushkin.
In general, the entire "water society" is opposed to Pechorin. However, it is still possible to single out heroes who are not only opposed to Pechorin, but also compared with him.
Grushnitsky is a kind of parody of Pechorin. What Pechorin makes up the essence of character, Grushnitsky has a pose designed to produce an effect, an impression on others. Grushnitsky is an anti-romantic hero. His propensity for romanticization has been brought to the point of caricature. He is drawn, often behaves inappropriately to the situation. In everyday life, he is looking for romantic circumstances, and in truly romantic situations he is lost. Grushnitsky's participation in the duel is ignoble, vile, but he cannot refuse it, since he is very proud. There are many external details in his image (an overcoat, a crutch, a lameness, a ring with the date of acquaintance and the name of Mary). Obviously, the image of Grushnitsky was created not without the influence of the image of Lensky: both are romantics, both are killed in a duel, both are younger than their friend-enemy.
Werner is the only one male image, which is compared with Pechorin, and not opposed. Their similarity is manifested in relations with society, skepticism, wit. But along with common features there are many differences in their personalities. Pechorin is "madly chasing life", while Werner is passive. Werner is a less deep and complex nature than Pechorin. Before the duel, Pechorin admires nature, and Werner asks if he wrote his will. In appearance Werner traced romantic traits, but he is a contradictory nature.
All the female images presented in the novel are also subject to the main task - to reveal the image of Pechorin and show his relationship to love. Of all the female images, Princess Mary is described most fully. Like Grushnitsky, she is passionate about romanticism, she is young, smart, witty. The purity and naivety of the princess makes Pechorin's egoism even more obvious. The story of Mary's seduction is an occasion for deep introspection and extended internal monologues in Pechorin's diary. In a conversation with Mary, Pechorin talks about his fate (relationships with society, inclinations, oddities of character).
Faith is the most obscure image, incompletely outlined, and given only in hints. It's the only one female image, which is compared with Pechorin. It is in the relationship with Vera that the tragedy of Pechorin's position is most fully felt, his inability to deeply and truly love: he does not even need Vera. This emphasizes the loneliness of the hero, his inability to true feeling, reveals internal conflict hero. romantic irony highlights the relationship between Pechorin and Vera: Pechorin drives the horse, trying to catch up with Vera, and then sleeps Napoleon at Waterloo.
In addition, Lermontov pays attention a large number others, less visible, but also very important for creating more complete picture society, heroes, who, without exception, are subject to the principle of typification, which indicates the realism of the novel. At the same time, the author proceeds from traditional types, relying on the creative experience of his predecessors, Griboyedov and Pushkin.
As soon as Pechorin arrives in Pyatigorsk, he gets acquainted with the customs of the families of the steppe landowners: "... the Petersburg cut of the frock coat misled them, but, soon recognizing army epaulettes, they turned away indignantly."
Immediately we learn about the wives of local chiefs, "mistresses of the waters": "... they pay less attention to the uniform, they are accustomed in the Caucasus to meet an ardent heart under a numbered button and an educated mind under a white cap."
A special class in the “water society” is made up of men, civilians and military men (Captain Dragunsky, who, with his participation in a duel, resembles Zaretsky). The “water youth” stands out separately. In general, it is difficult to imagine anything new that has not yet been depicted in the works of Griboyedov and Pushkin. The same passion for ranks, servility, the same balls, gossip, idle pastime, emptiness, which dominate not as vices of society, but as elements public life. Everything is the same, only with the difference that we saw there secular society, and here is a provincial one, which is trying with all its might to resemble the capital. Against the background of all this, it is impossible not to note with what irony not only specific images but the whole atmosphere.
Thus, the "water society" is not an accidental theme in the novel. The problem of personality, its relationship with others are main task of Lermontov's entire work. At the same time, he is the successor of the traditions of Russian literature XIX century.
"A Hero of Our Time" is a socio-psychological novel in which the author set himself the task of revealing the hero's inner world, "exploring the human soul."
Lermontov is a romantic, therefore the problem of personality is the central problem of romanticism in the poet's work. However, the innovation of the "Hero of Our Time" lies in the fact that the conflict between the individual and the surrounding world is resolved using a variety of means, both romantic and realistic.
Pechorin, the protagonist of the novel, is a social type. Traditionally, after Onegin, he is placed in the gallery of "superfluous people".
The images of Pechorin and Onegin have a lot in common, ranging from details, character traits, to the situations in which they find themselves. However, the conflict between the individual and society in "A Hero of Our Time" is sharper than in "Eugene Onegin", since Pechorin "chases furiously for life", but does not receive anything from it, and Onegin simply "goes with the flow".
The composition of the novel is subordinated to the main task that the author set himself - the solution of the problem of personality. In Pechorin's journal, the story "Princess Mary" is central, in which the character of the hero is revealed from the inside, that is, Lermontov uses such an artistic technique as confession. All artistic means - portrait, landscape, dialogues, details - are psychological in nature. In the story, with the help of an expanded figurative system, the secret of the character of the hero is revealed.
Lermontov, like many romantics, opposes the individual and society, and he places his hero in different environments, confronts him with different people. We can see this in the stories "Bela", "Taman" and "Princess Mary".
In the psychological story "Princess Mary", Pechorin's personality is opposed to the "water society", the hero's attitude to this society and society in general is shown. "Water Society" is a collective image of representatives of the local and metropolitan nobility, in whose behavior and life the features of the described era can be traced. The conflict of personality and society was embodied not only in revealing the character of the protagonist, but also in depicting the "water society", their life, interests, and entertainment.
Pechorin, with slight contempt, notices the carefully concealed envy of each other, the love of gossip and intrigue. The life and customs of visitors to the Caucasian mineral waters, over which both the author himself and the main character are ironic, are conditioned by history and traditions. The image of the "water society" is also given in parallel with the image of the secular society, which Pechorin mentions and which has been the object of research more than once in the work of Griboyedov and Pushkin.
In general, the entire "water society" is opposed to Pechorin. However, it is still possible to single out heroes who are not only opposed to Pechorin, but also compared with him.
Grushnitsky is a kind of parody of Pechorin. What Pechorin makes up the essence of character, Grushnitsky has a pose designed to produce an effect, an impression on others. Grushnitsky is an anti-romantic hero. His propensity for romanticization has been brought to the point of caricature. He is drawn, often behaves inappropriately to the situation. In everyday life, he is looking for romantic circumstances, and in truly romantic situations he is lost. Grushnitsky's participation in the duel is ignoble, vile, but he cannot refuse it, as he is very proud. There are many external details in his image (overcoat, crutch, lameness, a ring with the date of his acquaintance with Mary). Obviously, the image of Grushnitsky was created not without the influence of Lensky: both are romantics, both are killed in a duel, both are younger than their friend-enemy.
Werner is the only male image that is compared with Pechorin, and not opposed. Their similarity is manifested in relations with society, skepticism, wit. But along with common features in their characters, there are many differences. Pechorin is "madly chasing life", while Werner is passive. Werner is a less deep and complex nature than Pechorin. Before the duel, Pechorin admires nature, and Werner asks if he wrote his will. In the appearance of Werner, romantic features are traced, but he is a contradictory nature.
All female images presented in the novel are also subject to the main task - to reveal the image of Pechorin and show his relationship to love. Of all the female images, Princess Mary is most fully depicted. Like Grushnitsky, she is passionate about romanticism, she is young, smart, witty. The purity and naivety of the princess makes Pechorin's egoism even more obvious. The story of Mary's seduction is an occasion for deep introspection and extended internal monologues in Pechorin's diary. In a conversation with Mary, Pechorin talks about his fate (relationships with society, inclinations, oddities of character).
Faith is the most obscure image, incompletely outlined, and given only in hints. This is the only female image that is compared with Pechorin. It is in the relationship with Vera that the tragedy of Pechorin's position is most fully felt, his inability to deeply and truly love: he does not even need Vera. This emphasizes the loneliness of the hero, his inability to have a true feeling, reveals the internal conflict of the hero. Romantic irony illuminates the relationship between Pechorin and Vera: Pechorin drives the horse, trying to catch up with Vera, and then falls asleep with Napoleon at Waterloo.
In addition, Lermontov pays attention to a large number of other, less noticeable, but also very important for creating a more complete picture of society, heroes who, without exception, are subject to the principle of typing, which indicates the realism of the novel. At the same time, the author proceeds from traditional types, relying on the creative experience of his predecessors, Griboyedov and Pushkin.
As soon as Pechorin arrives in Pyatigorsk, he gets acquainted with the customs of the families of the steppe landlords: "... the Petersburg cut of the frock coat misled them, but, soon recognizing army epaulettes, they turned away indignantly."
Immediately we learn about the wives of local chiefs, "mistresses of the waters": "... they pay less attention to their uniforms, they are accustomed in the Caucasus to meet an ardent heart under a numbered button and an educated mind under a white cap."
A special class in the "water society" is made up of men, civilians and military men (Captain Dragunsky, who, by his participation in a duel, resembles Zaretsky). The "water youth" stands out separately. In general, it is difficult to imagine anything new that has not yet been depicted in the works of Griboyedov and Pushkin. The same passion for ranks, servility, the same balls, gossip, idle pastime, emptiness, which dominate not as the vices of society, but as the elements of social life. Everything is the same, only with the difference that there we saw a secular society, and here a provincial one, which is trying with all its might to resemble the capital. Against the background of all this, it is impossible not to note with what irony not only specific images are drawn, but the whole atmosphere.
Thus, the "water society" is not a random theme in the novel. The problem of personality, its relationship with others are the main task of all Lermontov's work. At the same time, he continues the traditions of Russian literature of the 19th century.
M. Yu. Lermontov - bright representative romantic direction in literature, because of this, the problem of the individual and its environment is key in his works. But the novelty of the novel "A Hero of Our Time" lies in the fact that the clash of the individual and society is represented by different artistic means: not only romantic, but also realistic.
Comparison with the novel by A. S. Pushkin "Eugene Onegin"
Grigory Pechorin - the main character of the work, his image is a certain social type. Like Pushkin's Onegin, he is called " an extra person". In the characters of the two characters, close moments can be traced: small parts, some character traits, even the events that happen to them.
But the conflict of the individual with society in "A Hero of Our Time" is more complicated than in Pushkin's novel, since Pechorin is full of life, persistently looking for her, but all attempts are doomed to failure, while Onegin “goes with the flow”.
The role of composition in revealing the problem of personality and society
The composition of the work serves to achieve main goal posed by the writer - the disclosure and resolution of the problem of personality. key place belongs to the story "Princess Mary". In it, the hero is revealed to the greatest extent, because such literary medium like confession. Rest artistic techniques(portraits, dialogues, landscapes, and so on) add psychologism to this part of the work.
An expanded system of images reveals the secrets of the hero, hidden, at first glance, traits of his character.
Pechorin's conflict with the surrounding society
Like other representatives of the romantic trend, Mikhail Lermontov contrasts the personality and its environment, the norms and rules adopted in it. The author places the hero in different social environments: he is presented as an army officer during Caucasian War, then communicates with smugglers, then rotates among the nobility.
In "Princess Mary" Pechorin's conflict with the "water society", the relationship of Grigory Alexandrovich with him and with the whole society is described in detail.
The "Water Society" is the quintessence of the St. Petersburg and provincial nobility. Their behavior and lifestyle bear a clear imprint modern author era. The clash of the personality with the environment is embodied in the relationship of the protagonist with the "water society", the values and interests of its representatives, typical entertainment.
All provincial and metropolitan nobility opposed to Grigory Pechorin, but in the novel there are quite a few heroes who are not only opposed to the main character, but are compared with him.
Comparison of Pechorin with other characters in the work
Grushnitsky is a kind of caricature of the protagonist. Deep Essence Pechorin at Grushnitsky becomes just a pose adopted in order to impress others. This is an anti-romantic hero.
His romanticism is almost caricatured. His behavior is often inappropriate for the situation. In everyday affairs, he tries to find romantic notes, but in truly romantic moments he is lost. His participation in a duel has nothing to do with nobility, he does not refuse it only because of pride. Grushnitsky is a bit like Lensky: romanticism, death in a duel, youth.
Only one male character not opposed to Pechorin - Werner. They are really similar, both skeptical and witty, in conflict with society. But there are many differences: Pechorin is a man of action, Werner is passive. The nature of the latter is not so deep and complex, it is more practical. His appearance is filled with romantic details, but his personality is inconsistent.
The main features of the "water society" presented by the author in the novel
Civilian and military men constitute a special class in it, young people stand apart. But it is impossible to imagine other features than those already described in detail in the works of A.S. Griboyedov and A. S. Pushkin. The same servility, idleness, balls and gossip, an absolutely empty life, devoid of higher meaning.
Everything is the same, but in "A Hero of Our Time" we see a provincial society, not a metropolitan one. Lifestyle of the local nobility, atmosphere small town, described with incredible, subtle irony.
It can be said that the "water society" is far from a passing image in "A Hero of Our Time". The problem of the relationship between a person and society is the main goal of Mikhail Lermontov's creativity. At the same time, the poet and writer continues the tradition domestic literature of that period.
So far, Pechorin's attempts to get close to people far from his circle have been traced. The failure of these attempts, as we have seen, is due not to the narrowness of the hero, but to the limitations of those with whom fate brought him together. In "Princess Mary" we see Pechorin in a circle that is socially closer to him. However, the hero's encounter with individuals is replaced here by a conflict with society as a whole. Perhaps that is why "Princess Mary" is the largest part of the novel in terms of volume.
For Pechorin, in his loneliness, the diary, the “journal”, is the only “worthy interlocutor” with whom he can be more sincere. And one more value of the magazine: This is the spiritual memory of Pechorin. His life seems to be exchanged for trifles, and therefore it is especially important for him to see the meaning of the events taking place, to keep track of them, so as not to be in the position of a person whose state is conveyed in the poem "Both boring and sad ...".
Proudly not forgiving Pechorin for his superiority, Grushnitsky, the dragoon captain and other members of the “water society” believe that Pechorin is proud of his belonging to the St. Petersburg world, to the living rooms where they are not allowed. Pechorin, although he cannot help but be ironic in relation to the "water society", is not only not proud of his superiority, but painfully perceives this distance between himself and others, leading to hostility: "I returned home, worried by two different feelings." The first was sadness. Why do they hate me? - I thought - For what? Have I offended anyone? No. Am I really one of those people whose mere sight already breeds ill-will. And I felt that poisonous anger gradually filled my soul. The transition from the irony of sadness, from it - to poisonous anger, prompting action, so as not to be a laughingstock worthless people, is characteristic of Pechorin's attitude to the "water society" in general, and Grushnitsky in particular.
Pechorin, for all his irony, is rather kind, he does not imply in Grushnitsky the ability to kill (and not even with a word, but with a bullet), he does not imply baseness, aggressive manifestations of pride.
“The innate passion to contradict” in Pechorin is not only a sign of reflection, a constant struggle in his soul, but also a consequence of a constant confrontation with society. The people around are so insignificant that Pechorin constantly wants to be different from them, to act contrary to them, to do the opposite. Moreover, Pechorin himself ironically over this stubbornness: “The presence of enthusiasm douses me with Epiphany cold, and I think frequent intercourse with a lethargic phlegmatic would make me a passionate dreamer.” Grushnitsky is unbearable for his falseness, posturing, claims to romanticism - and Pechorin in his presence feels an irresistible need for prosaic sobriety of words and behavior.
Grushnitsky’s consent to participate in the conspiracy proposed by the dragoon captain awakens “cold anger” in Pechorin, but he is still ready to forgive his “friend” for his vindictiveness, “various bad rumors” spread by him in the city - for a minute of honesty “I was tremblingly waiting for Grushnitsky’s answer, cold anger took possession of me at the thought that if it weren’t for chance, I could become the laughingstock of these fools. If Grushnitsky had not agreed, I would have thrown myself on his neck. But after some silence, he got up from his seat, held out his hand to the captain and said very importantly: "Very well, I agree." The laws of honor are not written for these people, just as they are not for the "peaceful circle of honest smugglers."
Pechorin's readiness for grateful humanity is destroyed by the meanness of Grushnitsky, who agrees to deception in a duel. However, Pechorin, as Shakespeare's Hamlet. More than once he must be convinced that meanness is ineradicable in this person before he decides on retribution. Pechorin's cruelty is caused by insult not only for himself - because on the border of life and death in Grushnitsky, petty pride turns out to be stronger than honesty and nobility.
Pechorin and the "water society" in the novel by M.Yu. Lermontov "A Hero of Our Time".
So far, Pechorin's attempts to get close to people far from his circle have been traced. The failure of these attempts, as we have seen, is due not to the narrowness of the hero, but to the limitations of those with whom fate brought him together. In "Princess Mary" we see Pechorin in a circle that is socially closer to him. However, the clash of the hero with individuals is replaced here by a conflict with society as a whole. Perhaps that is why "Princess Mary" is the largest part of the novel in terms of volume.
For Pechorin, in his loneliness, the diary, the “journal”, is the only “worthy interlocutor” with whom he can be more sincere. And one more value of the magazine: This is the spiritual memory of Pechorin. His life seems to be exchanged for trifles, and therefore it is especially important for him to see the meaning of the events taking place, to keep track of them, so as not to be in the position of a person whose state is conveyed in the poem "Both boring and sad ...".
Proudly not forgiving Pechorin for his superiority, Grushnitsky, the dragoon captain and other members of the “water society” believe that Pechorin is proud of his belonging to the St. Petersburg world, to the living rooms where they are not allowed. Pechorin, although he cannot help but be ironic in relation to the "water society", is not only not proud of his superiority, but painfully perceives this distance between himself and others, leading to hostility: "I returned home, worried by two different feelings." The first was sadness. Why do they hate me? - I thought - For what? Have I offended anyone? No. Am I really one of those people whose mere sight already breeds ill-will. And I felt that poisonous anger gradually filled my soul. The transition from the irony of sadness, from it to poisonous anger, prompting to act so as not to be the laughingstock of insignificant people, is characteristic of Pechorin's attitude to the "water society" in general, and Grushnitsky in particular.
Pechorin, for all his irony, is rather kind, he does not imply in Grushnitsky the ability to kill (and not even with a word, but with a bullet), he does not imply baseness, aggressive manifestations of pride.
“The innate passion to contradict” in Pechorin is not only a sign of reflection, a constant struggle in his soul, but also a consequence of a constant confrontation with society. The people around are so insignificant that Pechorin constantly wants to be different from them, to act contrary to them, to do the opposite. Moreover, Pechorin himself ironically over this stubbornness: “The presence of enthusiasm douses me with Epiphany cold, and I think frequent intercourse with a lethargic phlegmatic would make me a passionate dreamer.” Grushnitsky is unbearable for his falseness, posturing, claims to romanticism - and Pechorin in his presence feels an irresistible need for prosaic sobriety of words and behavior.
Grushnitsky’s consent to participate in the conspiracy proposed by the dragoon captain awakens “cold anger” in Pechorin, but he is still ready to forgive his “friend” for his vindictiveness, “various bad rumors” spread by him in the city - for a minute of honesty “I was tremblingly waiting for Grushnitsky’s answer, cold anger took possession of me at the thought that if it weren’t for chance, I could become the laughingstock of these fools. If Grushnitsky had not agreed, I would have thrown myself on his neck. But after some silence, he got up from his seat, held out his hand to the captain and said very importantly: "Very well, I agree." The laws of honor are not written for these people, just as they are not for the "peaceful circle of honest smugglers."
Pechorin's readiness for grateful humanity is destroyed by the meanness of Grushnitsky, who agrees to deception in a duel. However, Pechorin is like Shakespeare's Hamlet. More than once he must be convinced that meanness is ineradicable in this person before he decides on retribution. Pechorin's cruelty is caused by insult not only for himself - because on the border of life and death in Grushnitsky, petty pride turns out to be stronger than honesty and nobility.
