Pechorin and "water society". Pyatigorsk, Elisavetinskiy spring, where the "water society" gathers. Walking along the boulevard, Pechorin meets "for the most part a family of steppe landowners", who followed him with their eyes "with tender curiosity", but, "having recognized the army epaulettes ... turned away indignantly." The local ladies are more benevolent, they are “accustomed in the Caucasus to meet an ardent heart under a numbered button and an educated mind under a white cap. These ladies are very sweet; and long cute!
Pechorin overtakes a crowd of men who “make up a special class of people between those who look forward to the movement of water. They drink - but not water, walk a little, drag only in passing; they play and complain of boredom. They are dandies: lowering their braided glass into a well of sour water, they assume academic poses ... "
Lermontov's description of these snobs is extremely apt and caustic. And it is no coincidence that he collects a real “hospital” on the waters: Mary is being treated for something, Grushnitsky and Werner are lame, the smuggler girl behaves like crazy, the boy is blind, Vera is mortally ill ... Among them, Pechorin becomes “ moral cripple, devoid of ordinary human feelings.
Criticism greeted the new work ambiguously: a sharp controversy ensued. Along with the stormy enthusiasm of Belinsky, who called Lermontov’s novel a work that represents “completely new world art", who saw in him " deep knowledge human heart and modern society”, “richness of content and originality”, there were voices of critics in the press who absolutely did not accept the novel. One of the most ardent opponents of Lermontov, a certain A. S. Burachok, argued that the image of the protagonist of the novel is “aesthetic and psychological absurdity”, and in the work itself “there is no trace of Russian folk philosophy, religiosity”. But no matter how we evaluate the novel, one cannot fail to note the skill with which Lermontov wrote out his main character. Throughout the work, the author strives to reveal as fully as possible inner world his hero - Grigory Alexandrovich Pechorin. The compositional complexity of the novel is inextricably linked with the psychological complexity of the image of the protagonist, and the panopticon of the “water society” helps to reveal this image more deeply.
The inner world of the hero is most fully and deeply revealed in the chapter "Princess Mary". The plot here is Pechorin's meeting with Grushnitsky, a familiar cadet. And then Pechorin's next "experiment" begins. The whole life of the hero is a chain of experiments on himself and other people. Its purpose is the comprehension of truth, human nature, evil, goodness, love. This is exactly what happens in the case of Grushnitsky. Why is the young cadet so unpleasant to Pechorin?
As we can see, Grushnitsky is by no means a villain worth fighting against. This is the most ordinary young man who dreams of love and stars on uniform. He is mediocrity, but he has one weakness that is quite excusable at his age - “drape in extraordinary feelings”, “passion to recite”. He strives to play the role of the Byronic disappointed hero, fashionable among young men, "a creature doomed to some secret suffering." Of course, the reader understands that this is a parody of Pechorin! That is why he is so hated by Pechorin. Grushnitsky, as a narrow-minded person, does not understand Pechorin's attitude towards him, does not suspect that he has already begun a kind of game. At first, Pechorin even evokes a certain condescending feeling in Grushnitsky, since this young man is self-confident and seems to himself a very insightful and significant person. “I feel sorry for you, Pechorin,” is how he speaks at the beginning of the novel. But events are developing as Pechorin wants. Mary falls in love with him, forgetting about Grushnitsky. Overwhelmed by jealousy, indignation, and then hatred, the Junker suddenly opens up to us from a completely different side. He turns out to be not so harmless at all. He is capable of being vindictive, and then - dishonorable, vile. Anyone who recently dressed up as nobility is now able to shoot an unarmed person. Pechorin's experiment was a success! Here, the "demonic" properties of his nature were manifested with full force: "to sow evil" with the greatest art. During the duel, Pechorin again tempts fate, calmly standing face to face with death. Then he offers Grushnitsky reconciliation. But the situation is already irreversible, and Grushnitsky dies, having drunk the cup of shame, repentance and hatred to the end.
Pechorin and "water society" in M.Yu. Lermontov's novel "A Hero of Our Time".
Roman M.Yu. Lermontov "A Hero of Our Time" is one of the the best works Russian literature. This novel is worth
on a par with such masterpieces as "Woe from Wit", "Eugene Onegin", "Inspector General". The novel was written in an era that is coming
after the December uprising.
At the center of the novel is a man who, in terms of his development, is higher than the society around him, but who is unable to find
application of your abilities. The author accurately brought out the image young man, which was personified in the work
Pechorin. This is a smart, well-educated young officer who serves in the Caucasus. He's tired of social life
spoiled him. The hero suffers from his restlessness, in despair asks himself the question: “Why did I live? For what purpose do I
was born? Pechorin - typical hero time the best representative his era, but the price for this is his loneliness.
In the first chapter of the novel, we see Pechorin through the eyes of Maxim Maksimych, an old officer: “He was a nice guy, only
a little strange." Maxim Maksimych himself is not able to understand the complex nature of the hero whom he loves and considers his own.
friend. In "Bela" the hero's inconsistency is manifested. His character is complex. The hero himself says about himself: “I have two
person: one lives in literally this word, and the other thinks and judges it ... ”In his words, he hides the essence of his
character: his soul is "corrupted by the light." By nature, Pechorin is an egoist, we learn about this from the first story of the novel.
This quality is manifested in love for Bela, as well as in relation to Mary.
In the story "Maxim Maksimych" the author gives a portrait of Pechorin. Describing the appearance of the hero, the author emphasizes his
aristocratic background. Pechorin is the representative secular society and lives by its laws. If in
The first story of Pechorin is described by Maxim Maksimych, but here the narrator changes. “Wandering officer: a thin and
observant, drawing psychological picture hero, notes the main thing in him: he is all woven from contradictions and
contrasts. “His frame and broad shoulders proved a strong build,” and there was something childish in his smile, some kind of nervous
weakness"; "despite White color his hair, mustache, and his eyebrows were black.” Particular attention is paid to the description of the eyes
hero: ...they didn't laugh when he laughed! Because of their half-drooped eyelashes, they shone with a kind of phosphorescent sheen: it was
a brilliance like that of smooth steel, dazzling but cold.”
In "Princess Mary" we meet a person capable of introspection. Here Pechorin characterizes himself, he
explains how his bad qualities were formed: ... such was my fate from childhood! Everyone read on my face
signs of bad qualities that were not there; but they were assumed - and they were born ... I became secretive ... I became vindictive ... I
I became envious, I learned to hate, I began to deceive, I became a moral cripple. He realizes that he has lived
an empty and aimless life: “Why did I live? For what purpose was I born? The hero does not see the meaning of life. This understanding of
purpose in life a few hours before possible death is the culmination of not only the story "Princess Mary", but
and the entire novel.
Pechorin is a brave man, which manifested itself in a duel. TO positive traits hero can be attributed and his ability
understand and feel people. Pechorin is an honest, decent person. Despite the unpleasant history of Princess Mary,
Pechorin decides to tell the truth, although it was not easy. And in this episode, his willpower was manifested. V. G. Belinsky compared
the soul of Pechorin with the land dried up by the heat, which, after blessed rains, could give birth to beautiful flowers.
The novel by M.Yu. Lermontov poses one of the problems - the inability of people of this time to act, generated by their
own environment. Pechorin is a hero of his time. I think this is an honorary “title”, because the very word “hero”
implies uniqueness, exclusivity. In his novel, Lermontov managed to show not only the image of the hero, but also
reveal the history of the human soul.”
Roman M.Yu. Lermontov “Hero of our time - complete work, all parts of which are united by one
hero, and his character is revealed from part to part gradually, is revealed from the external to the internal, from
effect to cause, from the epic through the psychological to the philosophical.
The novel was immediately ranked among the masterpieces of Russian literature.
Tasks and tests on the topic "Pechorin and the "water society" in the novel by M.Yu. Lermontov" A Hero of Our Time "."
- Orthoepy - Important topics for repeating the exam in the Russian language
Lessons: 1 Assignments: 7
- Changing past tense verbs by gender and number - Verb as part of speech Grade 4
Lessons: 1 Assignments: 9 Tests: 1
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.
Nov 17 2010
Lermontov considered it his historical duty or mission to show the Russian young man as a strong being, endowed with great passions and noble aspirations - "wonderful promises of the future", as it is said about in "Princess Ligovskaya". One of the main, fundamental differences between the new novel and the previous ones should have been an objective presentation and the fact that this novel would not have that conventional author-narrator who, for some unknown reason, knows every step and even every thought of his hero.
In the new novel, the matter should be set up in such a way that he himself learns about the existence of his hero from someone else's lips - a situation that, at first glance, is very sharp and paradoxical, but can become quite plausible if the motivation is successful. So Maxim Maksimych appeared in the role of the narrator, and the first story that opened was Bela, which is a combination of two different, mutually inhibiting genres, of which one serves as a motivation for the other.
It should be added that the real narrator or author of Bela's story is not Maxim Maksimych, but the one who was traveling "on the messenger from Tiflis", since, in his own words, taking advantage of the delay in Vladikavkaz, "he decided to write down Maxim Maksimych about Bela, not imagining that he will be the first link in a long chain of stories. This is how complex the construction turns out to be on close examination, which seems so natural and easy when reading. Lermontov had, on the one hand, to preserve the tonal difference between the two narrators, and on the other hand, to create the unity of the author's narrative style, without splitting it into separate languages: the writer "riding on the chaise longue", the old staff captain, the robber Kazbich, the boy Azamat, Bela and Pechorin himself (whose words, in the words of Maxim Maksimych, "cut into" his memory).
Thus, the “ordinary do” about a Circassian woman abducted by a Russian officer is passed through a prism with several facets, due to which it reaches the reader in the form of a multi-colored semantic spectrum.
About the writing profession of the narrator of "Bela" and "Maxim Maksimych", it must also be added that this profession was very useful for solving one of the most important tasks of the novel: somewhere it was necessary to draw a portrait of the hero - especially the "hero of our time." Formerly a traditional and, in fact, not always necessary duty, this task in this case has acquired a new and important function. ideological meaning, since the story told in "Bel" arouses extreme interest in Pechorin as a person as a whole - one of Lermontov's greatest artistic achievements. Not only that: for the portrait of the hero, a brilliant motivation was found in terms of wit and plausibility (and, consequently, in terms of persuasiveness) - a writer riding on a chaise longue, having just listened to Bela's story, comes face to face with Pechorin himself. Naturally, he peers intently into every feature, follows every movement of this “strange” (in the words of the staff captain) person. And now a portrait is drawn, which is based on a new idea of the connection between a person’s appearance and his character and psyche in general - an idea in which echoes of new philosophical and natural science theories that served as a support for early materialism are heard.
So, "Bela" and "Maxim Maksimych" give a complete exposition of the hero: from general plan("Bela") made the transition to a large - now it's time to move on to psychological development. After Bela, Pechorin remains enigmatic; the critical tone of the staff captain (“What a marvel! Tell me, please ... you seem to have been to the capital, and recently, is all the youth there really like that”) does not leave, but, on the contrary, enhances this mystery, introducing into it a portrait of a trait of somewhat vulgar demonism. "Taman" is built into the novel as a psychological and plot "antidote" to what happened as a result of "Bela" and "Maxim Maksimych".
Already in "Bela" Pechorin comes to the conclusion that "the love of a savage few better than love noble lady "(" ignorance and simple-heartedness of one is just as annoying as the coquetry of another "), but this can be attributed precisely to the "demonism"; in "Taman" the hero, who was once again chasing "the love of a savage," suffers a complete fiasco and finds himself on the verge of death. "Ondine" turns out to be the smuggler's girlfriend - and this world of peculiar predators has nothing to do with the Rousseauist idylls of the "natural man". It is quite natural that after such a fiasco, Pechorin leaves the world of "savages" and returns to the much more familiar and safe world of "noble" young ladies and ladies. This is how the transition from "Taman" to "Princess Mary" is made.
Here, Pechorin's line (the "curve" of his behavior), which has descended in Taman, rises, as the reader is no longer acquainted only with Pechorin's actions, but also with his thoughts, aspirations, complaints - and all this ends with a significant “a poem in prose”, the meaning of which goes far beyond petty fuss with Princess Mary and Grushnitsky: “I am like a sailor, born and raised on the deck of a robber brig; his soul has become accustomed to storms and battles, and, thrown ashore, he is bored and languishing, no matter how beckoning his shady grove, no matter how peaceful the sun shines on him ... ”However, he cannot wait for big storms and battles, and at most - that he will again , as it has happened more than once, will be on the verge of death and will not perish. So we move on to The Fatalist.
As behind the portrait of Pechorin there is a whole natural science and philosophical theory, so behind the "Fatalist" hides a large philosophical and historical trend associated with the problem of historical "regularity", "necessity" or, as it was often expressed then, "fate", "providence". It is not surprising that the question of "fate" or "predestination" turned out to be the theme of the final story; it is surprising, or rather remarkable, how he handled this philosophical theme, making it the plot of a work of art.
Without rejecting the significance of the problem itself, he takes it not in a theoretical ("metaphysical") context, but in a psychological one - as a fact. mental life and human behavior - and makes a completely unexpected for the “theorist”, but absolutely convincing practical (psychological) conclusion: “I like to doubt everything: this disposition of the mind does not interfere with the decisiveness of character - on the contrary, as far as I am concerned, I always go forward more boldly when I don't know what to expect. After all, nothing worse than death will happen - and death cannot be avoided!
Fatalism here is turned by its opposite: if "predestination" really exists, then the consciousness of this should make a person's behavior all the more active and courageous. The question of "fatalism" is not solved by this, but that side of this worldview is revealed that leads not to "reconciliation with reality", but to "decisiveness of character" - to action. So true artistic twist philosophical theme Lermontov saved his concluding story from a bad tendentiousness, and his novel from a bad or gloomy ending.
Need a cheat sheet? Then save it - "Pechorin and society. "Alien for everyone". Literary writings!/ / / « water society" in Lermontov's novel "The Hero of Our Time"
"" is a novel in which socio-psychological problems are clearly revealed. In the content of the novel, the author tries with all his might to convey and describe the inner world of the protagonist, who was the image younger generation those times. M.Yu. Lermontov creates different life scenes and episodes in which he shows the conflict between the protagonist and the society around him.
In one of the stories of the novel "Princess Mary", the personality of Pechorin is directly opposed to the participants in the water society. What kind of society is this? This is a circle of people - local and metropolitan nobility, which convey the main features of the character and behavior of people of that era. What dominates in such a society is hypocrisy, simulated emotions, feelings of envy for each other, petty intrigues and dirty gossip. The "Water Society" is compared to the secular circle of people.
Spending time in such a society, confronts almost all of its members. But, there is also similar images. For example, it can be attributed to a parody character who tried to imitate Pechorin in everything. He tried to portray feelings of joy and happiness, although in fact he did not experience either. He tries to create a romantic relationship, but as soon as he gets into it, he is immediately lost. He tries to impress others, and it comes to caricatures. Grushnitsky's act in the duel is low and vile. He deprives him of male nobility and honor. His pride overshadows all other emotions.
The image of Werner can be compared with the image of Pechorin. They are both witty, both have the same views on society. But, the inner world of the protagonist rushes forward, to meet life. And the inside of Werner is filled with calmness and passivity.
A few bright female images were created by the author in order to reveal the character of the protagonist as deeply as possible. The description is the most detailed. Relations with the princess prompt Pechorin to create deep diary entries, in which he writes about their conversations, in which the hero shares his attitude towards others.
Dan is incomplete. But, it is the relationship with this woman that shows the reader the true fact that Pechorin did not know how to truly love and did not understand the feelings of female love at all.
After the arrival of Grigory Alexandrovich in Pyatigorsk, we can get acquainted with the description family relations that time. A separate class is made up of civil and military men. Particularly passionate speech is about the youth of the “water society”. It tells about their unknown passion for evening balls, for celebrations, where dirty gossip is constantly being conducted. This provincial society was so like a secular gathering of the same hypocritical and empty people.
Therefore, the topic of “water society” was not in vain touched upon by M.Yu. Lermontov. He tried to reveal and show the essence of relationships individual and the whole society of that time and that era.
