What role do Pechorin’s notes play in revealing his character? (17.1). Essay "Pechorin's Journal" as a "novel within a novel III"

Sections: Literature

Target: creating conditions for comprehension (analysis, comparison of facts) of a literary work.

Tasks:

1. To trace how Pechorin’s inconsistency stands out sharply against the background of the life of ordinary people, to answer the question: how is Pechorin’s Journal revealed? inner world hero?
2. Formation of information and communication competence of students.
3. Developing independence, the ability to interact in a team, and a culture of communication.

Equipment: multimedia: presentation ( Annex 1), excerpts from the film .

During the classes

I. Organizational moment.

Slide 1.

– In previous lessons we got acquainted with the theme, idea, composition of the novel by M.Yu. Lermontov "Hero of Our Time". We analyzed the first chapters of the novel. Today, as we continue to work on the novel, we will try to trace how Pechorin’s inconsistency stands out sharply against the background of the lives of ordinary people, and we will also answer the question: how is the hero’s inner world revealed in “Pechorin’s Journal”?

– Open your notebooks and write down the topic of the lesson.

– Today we have an unusual form of work – work in groups. The groups were previously given an assignment on one of the chapters of the Journal. Each student will be assessed at the end of the lesson: there is an assessment sheet on the tables ( Appendix 2), which is filled out by the person responsible in this group.

II. Blitz survey on the content of the novel. Creating motivation.

Slide 2-10

– So, before we move on to working in groups, let's remember the events and characters of the work.

– Fragments from the novel are offered with omissions in place of geographical names.

We need to fill in the gaps.

– Based on excerpts from the novel, you need to guess the character in question.

– Every object needs to find an owner.

III. Updating knowledge. Preparing to perceive something new.

Slide 11

– When was the novel written?

– What are the problems of the work?

(Lermontov is interested in the problems of the individual and society, man and the environment that raised him, man and fate, his idea of ​​faith and predestination, the problem of finding the meaning of life, free will and necessity).

1. Composition

– We have already noted the unusualness of the composition more than once. What is it?

(The novel consists of separate chapters, not arranged in chronological order.)

Those. plot does not match plot. What are PLOT and FABULA? Slide 12

– Name the chapters in plot and chronological order. Slide 13-14

– Why don’t the plot and plot coincide in a novel? Was it by chance that Lermontov abandoned the chronological principle in the arrangement of the stories included in the novel, and the order of their initial publication?

(Thanks to the unusual sequence, we GRADUALLY learn the psychology of the hero and an objective way of presenting the image of Pechorin arises: first he is seen from the outside, in his external manifestations (from the 3rd person - Maxim Maksimych; from the 2nd person - the officer-narrator, and then A SUBJECTIVE way appears, in diary entries (from the 1st person – Pechorin himself). All other characters also explain in one way or another the personality of the main character. The reader involuntarily compares him with these people and, by comparing, evaluates him in a new way and deeper. comprehends.)

Yuri Mikhailovich Lotman, literary critic, cultural critic, writes:

“In this way, Pechorin’s character is revealed to the reader gradually, as if reflected in many mirrors, and none of the reflections, taken separately, gives an exhaustive description of Pechorin. Only the totality of these voices arguing among themselves creates the complex and contradictory character of the hero.” Slide 15

– From whose lips do we learn about the fate of the main character?

(There are three narrators in the novel: Maxim Maksimych, a traveling officer and Pechorin himself.)

2. Psychological portrait of Pechorin. Frontal conversation with reference to the text.

– Let’s turn to the chapters of the novel to see how the hero’s inner world is revealed.

The hero in the assessment of Maxim Maksimovich.

– Who introduces Pechorin to us in the chapter “Bela”? (Pechorin appears before the reader in the story of Maxim Maksimovich, in his perception).

– How does Pechorin appear in his story? Find it in the text.

(Reading a fragment from words: “Once, in the fall, a transport arrived...” to the words “... a rich man: how many expensive things he had”).

– Can you trust the opinion of Maxim Maksimovich? (He does not understand that a person does not always strive to expose his feelings, does not understand the reasons for the “unhappy character” of the hero. He believes that the reason for this is spoilage in childhood. For him, Pechorin is strange. Which means he is hidden and mysterious to us, the readers).

The hero in the assessment of the second narrator - a traveling officer.

– Who introduces Pechorin to us in the chapter “Maksim Maksimych”? (The narration is continued by the conditional author, the “publisher” of Pechorin’s diary.)

– What did the traveling officer see in the guise of Pechorin? Give examples from the text.

(The hero’s appearance is woven from contradictions. His portrait explains Pechorin’s character, testifies to his fatigue and coldness, to his unspent strength. Observations convinced the narrator of the richness and complexity of this man’s character).

– This is how we see Pechorin through the eyes of Maxim Maksimych and the traveling officer. Thus, Lermontov creates a detailed psychological picture, the first in Russian literature.

3. Working with the term

– What does a psychological portrait mean? Slide 16. Writing in a notebook

– What is his role?

(The psychological portrait gives us an idea of ​​the inner essence of the hero. The portrait of the hero explains the character of the hero, his contradictions, testifies to the fatigue and coldness of Pechorin, and the unspent strength of the hero).

– Do we understand the hero, since we have considered the point of view of both Maxim Maksimych and the traveling officer? Slide 17

(The hero is, of course, interesting. The more mysterious, the more interesting. Pechorin has a strong individuality, he is endowed with charm, but there is also something alarming about him. He is both strong and weak, hardened and pampered. He is able to fight for love - and he quickly cools down, he does not know how to love for a long time. After infatuation, he quickly becomes cold and feels empty in his heart.)

IV. Analysis of Pechorin's journal.

– Where is the hero’s inner essence most fully revealed?

(If the first two stories in the genre are travel notes (the narrator noted: “I am writing not a story, but travel notes”), then the next stories are Pechorin’s diary - “Pechorin’s Journal,” which explains the mysteries of his character.

1. Working with the term “diary”. Slide 18

– Pechorin was sure that he was writing “this magazine... for himself,” which is why he was so open in describing them.

– What parts does “Pechorin’s Journal” consist of?

– Who represents the hero to us? (The hero himself receives the floor, analyzing himself with the utmost degree of penetration and giving the reader the opportunity to look into his soul from the inside.)

V. Group work.

1. Working with the table:

– In the course of working in groups, we answer the question: how is the hero’s inner world revealed in Pechorin’s Journal? The results of observations are entered into a table as the discussion progresses ( Appendix 3).

2. Analysis of the story “Taman”. Slide 19

– So, what will the reader learn from Taman? ( condensed retelling).

– What surprised Pechorin in the heroes of the chapter “Taman”?

Watching an episode from the film: dialogue between a blind man and an undine girl.

– Think about how Pechorin’s character manifests itself in this episode?

– Why did he need to “get the key” to the smugglers’ riddle? (Pechorin is an active person. Here, as in “Bel,” the hero’s desire to get closer to the original sources of existence, a world full of danger, the world of smugglers, is manifested. But Pechorin understands that among “honest smugglers” it is impossible to achieve that fullness of life , the happiness that his soul so longs for. In this world, his prosaic side, real life contradictions, are revealed).

– Why is he sad at the end of their story? What does this reveal about his character? (Watching the meeting of the blind man and Yanko causes sadness in the hero, reveals his the ability to sympathize with the hero. Pechorin feels sorry for the deceived boy. He understands that he has scared off the “honest smugglers”; their lives will now change. Watching the boy cry, he realizes that he is also lonely. For the first time throughout the story, he there is a feeling of unity of feelings, experiences, destinies.)

– Why does the hero’s activity bring misfortune to people? With what feeling does the hero pronounce the words: “And what do I care about human joys and misfortunes?” ( The hero's activity is directed towards himself, she does not have a high goal, he just curious. Hero looking for real action, but finds its semblance, a game. He is annoyed with himself for the fact that invading people’s lives does not bring them joy; he is a stranger in this world.)

Conclusion:

– What features of the hero’s character are revealed in the story “Taman”?

(Shows himself as man of action. Decisive, courageous, but his activity turns out to be pointless. He does not have the opportunity to indulge in major activities, to perform actions that would be remembered, for which Pechorin feels the strength. He wastes himself, getting involved in other people's affairs, interfering in other people's destinies, invading other people's lives and upsetting other people's happiness).

– What did you write down in the table?

To the table: determination, courage, interest in a new circle of people, the ability to sympathize, hope for a romantic adventure, adventurism.

3. Analysis of the story “Princess Mary”. Slide 20

– Which story most fully reveals spiritual world Pechorina?

(Stories “Princess Mary.”)

– What kind of society surrounds the hero this time? How is it different from the highlanders, the smugglers? (These are people equal to him in social origin - representatives of secular society).

-Then why did the conflict occur between this society and Pechorin?

(Among the people of this society there were no people equal to him intellectually. For these people, the main thing is not the inner world of a person, but his appearance; the feelings of women are fleeting and shallow.)

– Why do you think the hero so persistently seeks the love of a young girl, Princess Mary, whom he will never marry?

(Pechorin cannot always sort out his feelings).

– How does this characterize Pechorin?

(One can note the hero’s consumer attitude towards women, his selfishness, even cruelty. Pechorin does not take into account the simple truths that you need to think about other people, you cannot bring them suffering. Pechorin loves himself too much to give up the pleasure of torturing others.)

– Read this episode(“I stood opposite her” to the words “I thanked, bowed respectfully and left”).

(Pechorin is not playing here. He developed feelings that are natural for a person in this situation - pity, compassion. He wants to be honest with Mary, so he directly explains that he laughed at her and she should despise him for this. At the same time, it’s not easy for Pechorin himself).

– But is his soul so callous? Why did Pechorin’s heart beat stronger than usual when remembering Vera? Do you think Pechorin is capable of love?

(In Vera’s love for Pechorin there is that sacrifice that Mary does not have. Pechorin’s feeling for Vera is strong, sincere. This real love all his life. And yet, for Vera, he also does not sacrifice anything, as for other women. On the contrary, he inflames jealousy in her, dragging after Mary. But there is a difference: in his love for Vera, he not only satisfies his passionate need of the heart and love, he not only takes, he also gives a part of himself).

“This quality is especially evident in the episode of the crazy, desperate chase on a wildly galloping horse for Vera, who has left forever. Read it out.

Reading the episode.

– This episode has deep symbolic meaning. Pechorin forever lost not only Vera, his beloved woman, but also hope for the future and love for people.

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

– What can pride and lack of friends lead to?

(To loneliness, of course).

– How does Pechorin behave in the duel scene?

(During the duel, Pechorin behaves like a human courageous. Outwardly he is calm. Only after feeling the pulse did Werner notice in it signs of excitement. The details of the description of nature that Pechorin wrote down in his diary also reveal his experiences: “... down there it seemed dark and cold, like in a coffin; Mossy jagged rocks... awaited their prey.”)

– Does the hero experience the triumph of a winner?

(Pechorin hard: “I had a stone on my heart. The sun seemed dim to me, its rays did not warm me... The sight of a man was painful for me: I wanted to be alone...").

(To highlight the true depth and originality of the main character. Grushnitsky is a caricature of Pechorin, he is very similar to him, but at the same time is his complete opposite. Grushnitsky has all the negative properties of Pechorin - selfishness, lack of simplicity, self-admiration. Pechorin’s duel with Grushnitsky is Pechorin’s attempt to kill the petty side of his own soul).

– So, what features of Pechorin are revealed in the chapter “Princess Mary”? What was written down in the table?

To the table: selfishness, cruelty, lack of simplicity, self-admiration, masculinity, insight, demonstrates the ability to love.

4. Questions and tasks for discussing the chapter “Fatalist”

– We examined the image of Pechorin when meeting with danger. Further in the hero's reasoning, his life philosophy. Let's turn to the chapter "Fatalist".

Working with a term

– What is fatalism and who is a fatalist? Slide 21

The problem of fate, predestination, worried Lermontov’s contemporaries, and people of the previous generation worry us today. Pechorin was also worried about this problem. Is there destiny? What influences a person's life? Slide 22

– What is Vulich’s attitude towards predetermination in fate? At Pechorin's? Which of them has it ambiguous and why?

(Vulich does not doubt the existence of predestination and suggests “trying for yourself whether a person can arbitrarily dispose of his life, or whether everyone... has a fateful moment assigned in advance”;

U Pechorina there are no ready answers to questions related to the existence or absence of a predetermined human destiny, predestination, but he understands that character is of considerable importance in a person’s fate. The character of the hero has a desire to actively intervene in the lives of people he meets along the way. Of all the events depicted in the story, the hero comes to an idea: under any circumstances, no matter what, you need to act, show your will and determination).

– What action of Pechorin confirms these thoughts? (Scene of the capture of a drunken Cossack)

– How does Pechorin behave? What conclusions does it draw?

Reading the episode from the words: “I ordered Esaul to start a conversation with him...” to the words “The officers congratulated me - and definitely, there was something!”

– What did the officers congratulate Pechorin on?

(Pechorin commits a heroic act: for the first time sacrifices himself for others. The egoistic will, which previously did evil, now becomes good, devoid of self-interest. It is filled with social meaning. Thus, Pechorin’s act at the end of the novel reveals the possible direction of his spiritual development).

– Why does the story end up last in the novel, despite the fact that its place is different chronologically?

(Sums up philosophical understanding life experience, which befell Pechorin. The hero experiences for the first time and last time trust in fate, and fate this time not only spares him, but also elevates him. The fatal predetermination of human destiny is crumbling, but tragic social predetermination remains (the inability to find one’s place in life).

To the table: capable of sacrificing himself for the sake of others, capable of developing spiritually.

VI. Systematization of knowledge.

Slide 23

– Analyze the contents of the table and draw a conclusion: how does Pechorin appear before us in the “Journal”?

– A few days before the duel, the hero is occupied with the question of the meaning of life. What does he see as the purpose of his own existence?

Student reading a passage by heart("...why did I live? For what purpose was I born?...)

– Noble aspirations, according to the hero, are the most significant thing in a person’s life.

– Why can’t Pechorin find meaning in life?

(An extraordinary personality, endowed with intelligence and willpower, the desire for active work, cannot manifest itself in the surrounding life. Pechorin cannot be happy and cannot give happiness to anyone. This is his tragedy.)

– Guys, could we today, from the perspective of a person of the 21st century, having become acquainted with the fate and inner world of Georgy Pechorin, give him some advice and recommendations? (Children's answers). Slide 24

– Vasily Aleksandrovich Sukhomlinsky, a Russian teacher, gives us advice:

“You live among people... Check your actions with your consciousness: are you not causing harm, trouble, or inconvenience to people with your actions. Make the people around you feel good.”

VII. Homework. Ratings.

Slide 25

- This is the hero of that time. What would we take in our time?

An essay about: " What character traits are necessary for a hero of our time? (Based on the novel by M.Yu. Lermontov “Hero of Our Time”).”

– Mark the work of active students, analyze the assessment sheet.

The immortal work of M.Yu. Lermontov gained fame as the first Russian socio-psychological novel. And, of course, largely thanks to the very “Pechorin’s journal” to which this work is dedicated.

Like Pushkin's, A Hero of Our Time is a multi-layered novel, so to speak. In this case, we can talk about three circles: the outer one is Lermontov as the author (preface), the middle one is the characters on whose behalf the story is told (Maksim Maksimych’s fellow traveler and, in fact, the staff captain himself in the parts “Bela” and “Maksim Maksimych” ) and internal - himself as the author of a diary (“Pechorin’s journal”).

And it is precisely this inner circle that is the basis for considering the novel psychological. It gives a certain completeness to the narrative, giving the reader the opportunity to analyze the events taking place in it from different points of view. It creates a kind of intimate relationship between the work and the one holding it in their hands.

Without these “diary” parts in the novel (“Taman”, “Princess Mary”, “Fatalist”), the picture would be incomplete and not particularly entertaining: the other two stories characterize the main character somewhat one-sidedly and, perhaps, will be of little interest. How do we see Pechorin in Bel? I apologize for my frankness - a scumbag who ruined a girl because of his own whim, not to say lust. We open the part of “Maksim Maksimych” - and we see an indifferent and callous person, incapable of even the slightest appreciation of the cordiality of his senior comrade, a former colleague. One inevitably gets the feeling that there is a genuine anti-hero at the center of the novel. But there is hardly a person who has wings behind his back. So there are no those who are the embodiment of absolute evil. However, the latter, I admit, exist, but this is more related to psychiatry than to psychology. And the author lifts the veil of doubt, giving the floor to Pechorin himself.

And then “suddenly” it turns out that not everything is so simple. That it is not anger that is the main motive for his actions - often senseless and merciless, like the Russian revolt in the understanding of Pushkin. What is at the forefront is disappointment, suffering, boredom.

In Pechorin, in essence, he talks about the fate of all humanity, about its role in the universe: “... there were once wise people who thought that the heavenly bodies took part in our insignificant disputes over a piece of land or for some fictitious rights!.. And Well? these lamps, lit, in their opinion, only to illuminate their battles and celebrations, burn with the same brilliance, and their passions and hopes have long faded away along with them<…>. But what strength of will was given to them by the confidence that the whole sky with its countless inhabitants was looking at them with sympathy, albeit mute, but unchanging!.. And we, their pitiful descendants<…>We are no longer capable of making great sacrifices, either for the good of humanity, or even for our own happiness, because we know its impossibility and indifferently move from doubt to doubt, as our ancestors rushed from one error to another, having, like them, no hope...<…>».

Probably, these lines can be interpreted in different ways, although the closest analogy to me is a direct analogy with the presence and absence of faith in human life. This is not so much and not only about religion as such, but about a certain moral core, which is the basis of a complete personality.

I don’t want to talk about politics now, but the parallel suggests itself. During the Soviet era, did our country have an ideology? Was. How humane, reasonable and correct she was is another question. But life was easier in many ways. There was that notorious confidence in the future, there was the meaningfulness of getting an education, for example. Now it seems to be better for some: the times of scarcity are in the past, we have a certain freedom of speech - and the complete absence of a single state idea. On the one hand, the struggle for personal freedom, etc. On the other hand, there is complete lack of Christianity. Freedom is, first of all, a huge responsibility, and it is not often that a mere mortal manages to maintain a human face in conditions of sometimes unjustifiably large freedoms. We are constantly faced with moral questions one after another, and we have the right to make any decision. And in a certain sense, it is easier when at least some answers are regulated by state laws.

A believer is less likely to be burdened by problems of uncertainty. Yes, we are all subject to doubts, but a Christian will always find the answer to his question in the Bible, a Muslim - in the Koran, etc. Pechorin is an atheist in the highest sense of the word. Like, probably, Lermontov himself - however, this is not discussed here and not now. In his soul he does not believe in God or the devil, to put it simply - for himself he is the highest judge, and a criminal, and an executioner. It’s quite natural that he doesn’t feel good about this; he’s pretty tired of himself. And it’s impossible to get rid of it. This is a property of nature. He understands everything perfectly, possessing extraordinary intuition and a penetrating mind. But, as you know, it is difficult to be God...

"Pechorin's Journal" explains why he appears everywhere extra person, finds no peace anywhere. Because the state of peace is determined not by external circumstances, but by internal ones. And if a person does not have his own point of support in life, some kind of mental balance - alas, this does not bode well for either himself or the people who come close to him. The role of “Pechorin’s journal” boils down to the fact that the story, which at first was of a purely narrative nature, acquires a confessional overtones. And, of course, it serves as the basis for the gradual deep disclosure of the image of the main character. We look at what is happening no longer from the outside: after all, the diary was initially designed not so much for an outside reader, but for oneself after some time...

The meaning of Pechorin’s journal in M. Yu. Lermontov’s novel “A Hero of Our Time.”

1. In Lermontov's novel, composition and style are subordinated to one task: to reveal the image of the hero of his time as deeply and comprehensively as possible, to trace the history of his inner life. The history of the human soul, as the author states in the Preface to Pechorin's Journal, even the smallest soul, is almost more interesting and useful than the history of an entire people, especially when it... written without a vain desire to arouse sympathy or surprise.
   The image of Pechorin is revealed in two ways: from the point of view of an outside observer and in terms of his internal self-disclosure. This is why Lermontov's novel is clearly divided into two parts; each of these parts has internal unity. The first part introduces the reader to the hero using methods of external characterization. The second part is prepared first. Pechorin's Journal falls into the hands of the reader, in which he talks about himself in an extremely sincere confession.
   After the author’s meeting with Pechorin in Vladikavkaz, his notes fall into the author’s hands. In the Preface to Pechorin's Journal, the author reports something that Pechorin himself could not have reported: Pechorin died while returning from a trip to Persia. This is how the author’s right to publish Pechorin’s Journal, consisting of three stories: Taman, Princess Mary and Fatalist, is justified.
   In the stories of Pechorin's Journal, written in the first person, a third narrator appears, the third author is Pechorin himself, whose fate the reader became interested in in the story of Maxim Maksimych and whose significance was assessed by portrait characteristics, given by the observant author. And here is the smart, secretive Pechorin, who knows how to accurately determine every thought, every state of mind both himself and his interlocutors, he talks with merciless frankness about his life, about his deep dissatisfaction with himself and everything around him. In self-analysis, in reflection (in Belinsky’s terminology) Pechorin’s strength and weakness, hence his superiority over people, and this is one of the reasons for his skepticism and disappointment.
   The style of Pechorin's Journal is in many ways close to the style of the author's narration in Bel and Maxim Maksimych. Belinsky also noted: although the author poses as a person completely alien to Pechorin, he strongly sympathizes with him, and there is an amazing similarity in their view of things.
   With all the stylistic unity of Pechorin's Magazine, each of the three stories that make up this Magazine has its own historical and literary genealogy.
   Taman is an action-packed and at the same time the most lyrical story in the entire book in a new and realistic manner continues the tradition of romantic robber stories; At the same time, this little story is woven into the motif of a mermaid, an undine, common in a romantic ballad, but it is also translated into a real life plan: the undine turns into a seductive smuggler.
   L. F. Zurov noted the plot closeness of Taman to the story of George Sand LOrco. This story by George Sand was published in the Revue des deux mondes in volume XIII on March 1, 1838. Lermontov followed this publication and, one can say with confidence, knew the story of Georges Sand.
   For George Sand, the story takes place in Venice, which was under Austrian rule. The conspirators, dreaming of liberating their hometown, wage a ruthless fight against the Austrians. A brave Venetian beauty lures young officers into her gondola at night and drowns them in the sea. Many people know about her gondola in Venice; even the Austrian border guards saw it, but they consider it a smugglers’ boat. George Sand mentions smugglers twice. During a night walk, a young Austrian officer meets a night beauty; like the girl in Taman at her first meeting with a young Russian officer, she sings a song, as if not noticing him, etc. Despite all the plot closeness to George Sand’s story in terms of ideological concept, in terms of the author’s attitude to the reproduced reality, Taman is the complete opposite both this and other romantic short stories of Lermontov’s predecessors.

In 1838, Mikhail Yuryevich Lermontov began work on “A Hero of Our Time,” relying on his Caucasian impressions. During the creation process, the works “Bela” and “Taman” were published as separate stories. When “Fatalist” was published in “Otechestvennye zapiski,” the editors placed a notice that the author intended to publish “a collection of his stories, both printed and unpublished,” in the near future. The announcement ended with the promising ones being published as separate stories. When “Fatalist” was published in “Otechestvennye zapiski,” the editors placed a notice that the author intended to publish “a collection of his stories, both printed and unpublished,” in the near future. The announcement ended with promising words: “This will be new, wonderful gift Russian literature". So, readers were waiting for a collection of stories and the author initially, apparently, did not conceive his work as a holistic and coherent narrative. In 1840, the novel “A Hero of Our Time” was published. The stories included in it had a continuous compositional structure.

The psychological complexity of the central image determined the compositional structure of the work. Lermontov gradually introduces the reader to his hero, revealing Pechorin’s soul more and more deeply to us, getting us more and more interested.

In addition to the plot, the composition also incorporates other components of the work. An important point in revealing the composition of “A Hero of Our Time” is who is talking about what is happening. Changing the narrator allows Lermontov to more deeply and comprehensively reveal the hero’s inner world.

We meet Pechorin in Bel. Maxim Maksimych, a staff captain who served with him for a year in the Caucasus, talks about the hero. Maxim Maksimych is a kind person, but he is not able to understand Pechorin. The only thing he can say about him is: “a nice fellow,” “but with great oddities.” Maxim Maksimych and Pechorin are strangers to each other. Before us are people of different eras, different worldviews. Maxim Maksimych is an old campaigner who unquestioningly carries out any orders from his superiors, unable and unwilling to reason.

Pechorin is a different matter. In “Bel” he is secretive, and therefore incomprehensible to the staff captain. Pechorin reminds romantic hero. His story tragic love, disappointment, melancholy amaze the good-natured Maxim Maksimych, but he cannot unravel the soul of his subordinate.
The reader is interested, but it is too early to draw conclusions about the character of the hero. The author transfers the right to tell about Pechorin to a passing officer, on whose behalf the novel is narrated. This is a person who clearly understands Pechorin, they are people of the same generation, people of the same circle. We fully trust his judgment and therefore carefully read his words.

We see a psychological portrait of the hero. Describing his appearance in detail, the narrator tries to understand Pechorin’s character. The narrator pays special attention to the eyes: “They didn’t laugh when he laughed!..” He wants to find out what they are hiding, and therefore he happily takes Pechorin’s notes from Maxim Maksimych.

The aura of mystery does not disappear, although we have already learned a lot about the hero. The author allows Pechorin himself to talk about himself. The novel continues Pechorin's Journal and is preceded by a foreword by the narrator. Here we read important words: “Perhaps some readers will want to know my opinion about the character of Pechorin? My answer is the title of this book." So, Pechorin is a hero of his time, a typical personality, the face of the era. However, only the confession of the hero himself will help to understand him deeply.

“Pechorin's Journal” is a kind of “novel within a novel.” “Taman”, “Princess Mary”, “Fatalist” - “the history of the human soul, a consequence of the observations of a mature mind on itself.” The confessional nature of the diary entries makes Lermontov's novel similar to his lyrics. The thirst for life, the search for true values, the meaning of human existence sometimes takes on harsh and cruel forms in Pechorin’s personality. Disappointment, boredom, suffering are the companions of his life and the lives of people who have linked their fate with him.

The final chapter, “Fatalist,” at first glance seems superfluous, falling out of the natural development of the novel. But in fact, “Fatalist” contains the most important idea of ​​the story; the author gradually led us to it. Pechorin moves from self-esteem to thinking about his generation. What are his thoughts? Here Lermontov talks about what he shouted about in the Duma, what haunted him all his life - about the bitter fate of his generation: “... we... miserable descendants, wandering the earth without convictions and pride, without pleasure and fear... We are no longer capable of making great sacrifices, either for the good of humanity, or even for our own happiness, because we know its impossibility and indifferently move from doubt to doubt...”

“Fatalist” takes us back to the fortress where the tragedy with Bela occurred. The circle is closed. The “ring” composition emphasizes the hero’s doom. Pechorin is trying to solve the most difficult question: how free a person is to control his own destiny. “And if there is definitely predestination, then why were we given will, reason?” Thus, the novel examines social, moral and philosophical problems. A psychologically accurate picture of the relationship between society and the individual is given.

M. Yu. Lermontov’s novel “Hero of Our Time” is the final work of the writer’s creativity. It reflected problems that deeply worried the author, as well as his contemporaries. Their range is extremely wide, this circumstance determined the deep and...

"Hero of Our Time" belongs to those phenomena true art, which, occupying ... the attention of the public, like a literary story, turn into eternal capital, which over time increases more and more with the right interest. V.G....

And we hate, and we love by chance, Without sacrificing anything, neither malice nor love, And some kind of secret cold reigns in the soul, When fire boils in the blood. These Lermontov lines perfectly characterize the “hero of his time” - Pechorin. IN...

Has it ever occurred to you, while analyzing the character and actions of Grigory Aleksandrovich Pechorin, a hero of his time, to look at female images the novel not as a background that makes the image of the main character brighter and fuller, but as an independent phenomenon, as a heroine...

Pechorin's journal. Preface

The preface to Pechorin's Journal contains an explanation of the reasons why the author decided to publish other people's notes. main reason- “desire for benefit”, coming from the conviction that “the history of the human soul, even the smallest soul, is perhaps more interesting and useful than the history of an entire people.” With this thesis Lermontov strengthens the very genre of his novel, built on psychological analysis. He emphasizes Pechorin’s “sincerity” and contrasts his notes with Rousseau’s “Confession,” which was intended for others. In the manuscript, the essay “Maxim Maksimych” ends with a special paragraph where Lermontov says: “I reviewed Pechorin’s notes and noticed in some places that he was preparing them for publication, without which, of course, I would not have decided to use the staff captain’s power of attorney for evil. - In fact, Pechorin in some places addresses readers; you will see this for yourself, if what you know about him has not discouraged you from getting to know him more briefly.” This entire paragraph is absent from the printed text, and in the preface to the “Journal” Lermontov creates a completely different motivation. It must be assumed that at first no preface to the “Journal” was intended and the above-mentioned final paragraph of “Maxim Maksimych” was supposed to serve as a transition to Pechorin’s notes. Lermontov reports that for now he is publishing only that part of the notes in which Pechorin talks about his stay in the Caucasus, and the notebook in which his whole life is told cannot yet be published “for many important reasons.” With these words, Lermontov justifies the fragmentary nature of Pechorin’s biography. By “important reasons” we must apparently mean mainly censorship obstacles; It is characteristic that it was Pechorin’s St. Petersburg life that remained outside the novel.