“A Hero of Our Time” is the first psychological novel in Russian literature. The problem of personality is central to the novel: “The history of the human soul... hardly. Topic: “Hero of Our Time” - the first psychological novel in Russian literature

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“A Hero of Our Time” is the first psychological novel in Russian literature. The work was completed by 1839, and in it Lermontov sums up his thoughts about what a “modern man” is, what role the generation of the 30s will play in the history of Russia. And in the image of Pechorin, M.Yu. Lermontov generalized the typical features of the younger generation of his era, creating the image of a man of the 30s of the 19th century. Despite the many similarities between the author and the hero, Lermontov strives for maximum objectivity in the narrative. The author compares himself to a doctor who diagnoses a diseased eyelid:

I look sadly at our generation!

His future is either empty or dark,

Meanwhile, under the burden of knowledge and doubt,

It will grow old in inaction.

A psychological novel is not only an interest in the inner world of a person. Psychologism begins where contradictions begin, where a struggle arises between a person’s inner life and the circumstances in which he is placed.

M.Yu. Lermontov himself said this about his work : “the history of the human soul" This is the theme, the essence of the novel.

Turning to this topic, M.Yu. Lermontov continued Pushkin’s traditions. Belinsky noted that Pechorin “is the Onegin of our time,” thereby emphasizing the continuity of these images and their differences due to the era. Following A.S. Pushkin, M.Yu. Lermontov revealed the contradiction between the internal abilities of his hero and the possibility of their implementation. However, in M.Yu. Lermontov this contradiction is exacerbated, since Pechorin is an extraordinary person, endowed with a powerful will, high intelligence, insight, and a deep understanding of true values.

The unusual composition of the novel is noteworthy.. It consists of five separate stories, arranged in such a way that the chronology of the hero's life is clearly disrupted. In each story, the author places his hero in a new environment, where he encounters people of a different social status and mental makeup: mountaineers, smugglers, officers, noble “water society”. Thus, M.Yu. Lermontov leads the reader from Pechorin’s actions to their motives, gradually revealing the hero’s inner world. Vladimir Nabokov, in an article devoted to Lermontov’s novel, writes about the complex system of narrators:

Pechorin through the eyes of Maxim Masimych (“Bela”)

Pechorin with his own eyes (“Pechorin’s Journal”)

In the first three stories(“Bela”, “Maksim Maksimych”, “Taman”) only the actions of the hero are presented, where examples of Pechorin’s indifference and cruelty towards the people around him are demonstrated: Bela became a victim of his passions, Pechorin did not spare the poor smugglers. The conclusion involuntarily arises that his main psychological trait is authority and egoism: “What do I, a traveling officer, care about the joys and misfortunes of men?”

But this opinion turns out to be wrong. In the story “Princess Mary” we see a vulnerable, deeply suffering and sensitive person. We learn about Pechorin's love for Vera, and the reader's attitude towards the hero changes, becomes more sympathetic. Pechorin understands the hidden mechanism of his psychology: “There are two people in me: one lives in in every sense this word, and another thinks and judges it.” One should not think that everything written by Pechorin in his diary is the truth of his character. Pechorin is not always sincere with himself, and does he fully understand himself?

Thus, the character of the hero is revealed to the reader gradually, as if reflected in many mirrors, and none of these reflections, taken separately, provides an exhaustive description of Pechorin. Only the totality of these voices arguing among themselves creates the complex and contradictory character of the hero.

When in an orchestra we hear not each instrument individually, but all their voices at the same time, this is called polyphony. By analogy, such a construction of a novel, where neither the author nor any of the characters express main idea the work is direct, and it grows out of the simultaneous sound of several voices is called polyphonic. This term was introduced by a major expert on world literature, M. Bakhtin. Roman Lermontov has polyphonic character. This construction is typical of a realistic novel.

A trait of realism there is also another thing: in the novel there are no clearly positive and negative heroes. Lermontov creates psychologically plausible portraits of living people, each of whom, even the most repulsive, like Grushnitsky, has attractive and touching features, and the main characters are complex, like life itself.

But what does Pechorin waste his spiritual wealth, his immense strength on?? For love affairs, intrigues, clashes with Grushnitsky and dragoon captains. Pechorin feels the inconsistency of his actions with high, noble aspirations. Constant attempts to understand the motives of his actions, constant doubts lead to the fact that he loses the ability to simply live, to feel joy, fullness and strength of feeling. The feeling of the world as a mystery, a passionate interest in life in Pechorin are replaced by alienation and indifference.

However, Pechorina cannot be called an inhuman cynic, because fulfilling “the role of an executioner or an ax in the hands of fate,” he suffers from this no less than his victims. Yes, he always comes out victorious, but this does not bring him any joy or satisfaction. The entire novel is a hymn to a courageous, free personality and at the same time a requiem to a gifted person who could not “guess his high purpose.”

Another personality trait of the hero makes this novel a serious psychological work - the hero’s desire for self-knowledge. He constantly analyzes himself, his thoughts, actions, desires, his likes and dislikes, trying to uncover the roots of good and evil in himself.

The hero's in-depth self-analysis has universal human significance in the novel, revealing an important stage in the life of every person. Pechorin, and with him the author, talk about self-knowledge as the highest state of the human soul.

The main goal of the novel – revealing the “history of the human soul” – is also served by such artistic media, like a portrait of a hero and a landscape. Since the hero lives in a world of broken connections, you feel an internal duality, this is reflected in his portrait. The description of the hero’s external appearance is based on antitheses: a young, physically strong man, but in his appearance one can feel “nervous weakness” and fatigue. There is something childish in Pechorin’s smile, but his eyes look cold and never laugh. With such details, the author leads us to the conclusion: the soul of an old man lives in the body of a young man. But the hero lacks not only the innocence of youth, but also the wisdom of old age. The hero's physical strength, spiritual depth, and talent remain unrealized. His pallor resembles that of a dead man.

Nature paintings in the novel are not only consonant with the psychological states of the characters, but also filled with philosophical content. Images of nature are symbolic and inherited from poetry. The novel opens with a description of the majestic Caucasian nature, which should create a special worldview. The natural world in the novel is characterized by integrity, all principles in it are harmoniously combined: snow-capped mountain peaks, stormy rivers, day and night, the eternally cold light of the stars. The beauty of nature is life-giving and can heal the soul, and the fact that this does not happen testifies to the depth of the hero’s mental illness. More than once the hero writes inspired lines about nature in his diary, but, unfortunately, the power of natural beauty, like that of women, is fleeting, and again the hero returns to the feeling of the emptiness of life.

By creating the character of Pechorin, a strong, proud, contradictory, unpredictable hero, Lermontov made his contribution to the understanding of man. The author sincerely regrets the bitter fate of his contemporaries who were forced to live extra people in your own country. His moral appeal to the reader is that one should not go with the flow of life, that one should appreciate the good that life gives, expanding and deepening the capabilities of one’s soul.

M.Yu. Lermontov’s novel “A Hero of Our Time” is the first “analytical” novel in Russian literature, the center of which is not the biography of a person, but his personality, that is, spiritual and mental life as a process. This artistic psychologism can be considered a consequence of the era, since the time when Lermontov lived was a time of deep social upheavals and disappointments caused by the failed Decembrist uprising and the era of reactions that followed it. Lermontov emphasizes that the time of heroic figures has passed, man strives to withdraw into his own world and plunges into introspection. And since introspection becomes a sign of the times, then literature should turn to consideration inner world people.
In the preface to the novel main character- Pechorin - characterized as “a portrait made up of the vices of our entire generation in their full development.” Thus, the author was able to trace how environment influences the formation of personality, to give a portrait of the entire generation of young people of that time. But the author does not relieve the hero of responsibility for his actions. Lermontov pointed to the “disease” of the century, the treatment of which is to overcome individualism, stricken by unbelief, bringing deep suffering to Pechorin and destructive to those around him. Everything in the novel is subordinated to the main task - to show the state of the hero’s soul as deeply and in detail as possible. The chronology of his life is broken, but the chronology of the narrative is strictly constructed. We comprehend the hero's world from the initial characterization given by Maxim Maksimovich through the author's characterization to confession in Pechorin's Journal.
Pechorin is a romantic in character and behavior, a man of exceptional abilities, outstanding intelligence, strong will, high aspirations for social activities and an ineradicable desire for freedom. His assessments of people and their actions are very accurate; he has a critical attitude not only towards others, but also towards himself. His diary is a self-exposure “there are two people in me: one lives in the full sense of the word, the other thinks and judges him,” says Pechorin. What are the reasons for this duality? He himself answers: “I told the truth - they didn’t believe me: I began to deceive; Having learned well the light and springs of society, I became skilled in the science of life...” So he learned to be secretive, vindictive, bilious, ambitious, and became, in his words, a moral cripple.
But Pechorin is not devoid of good impulses, endowed with a warm heart capable of feeling deeply (for example: the death of Bela, a meeting with Vera and last date with Mary) Risking his life, he is the first to rush into the house of the killer Vulich. Pechorin does not hide his sympathy for the oppressed; it is about the Decembrists exiled to the Caucasus that he says that “under a numbered button hides an ardent heart and under a white cap an educated mind,” but Pechorin’s trouble is that he hides his emotional impulses under a mask of indifference. This is self-defense. He strong man, but all its forces carry not a positive, but a negative charge. All activity is aimed not at creation, but at destruction. The spiritual emptiness of high society and the socio-political reaction distorted and drowned out Pechorin's potential. That is why Belinsky called the novel “a cry of suffering” and “a sad thought.”
Almost everything minor characters works become victims of the hero. Because of him, Bela loses her home and dies, Maxim Maksimovich is disappointed in his friendship, Mary and Vera suffer, Grushnitsky dies at his hand, smugglers are forced to leave their home. He is indirectly responsible for the death of Vulich. Grushnitsky helps the author save Pechorin from the ridicule of readers and parodies, because he is his reflection in a distorting mirror.
Pechorin realized that under autocracy, meaningful activity in the name of the common good is impossible. This determined his characteristic skepticism and pessimism, the conviction that “life is boring and disgusting.” Doubts devastated him to the point that he was left with only two beliefs: birth is a misfortune, and death is inevitable. Dissatisfied with his aimless life, thirsting for an ideal, but not seeing it, Pechorin asks: “Why did I live? For what purpose was I born?
The “Napoleonic problem” is the central moral and psychological problem of the novel; it is the problem of extreme individualism and egoism. A person who refuses to judge himself by the same laws by which he judges others loses moral guidelines, loses the criteria of good and evil.
Saturated pride is how Pechorin defines human happiness. He perceives the suffering and joy of others as food that supports his spiritual strength. In the chapter “Fatalist,” Pechorin reflects on faith and unbelief. Man, having lost God, has lost the main thing - the system moral values, morality, the idea of ​​spiritual equality. Respect for the world and people begins with self-respect; by humiliating others, he elevates himself; triumphing over others, he feels stronger. Evil begets evil. The first suffering gives the concept of pleasure in tormenting another, Pechorin himself argues. Pechorin's tragedy is that he blames the world, people and time for his spiritual slavery and does not see the reasons for the inferiority of his soul. He does not know the truth of freedom; he seeks it alone, in wanderings. That is, in external signs, so it turns out to be superfluous everywhere.
Lermontov, captivating with psychological truth, vividly showed a historically specific hero with a clear motivation for his behavior. It seems to me that he was the first in Russian literature to be able to accurately reveal all the contradictions, complexities and all the depth human soul.

Lesson 1. Lesson topic:

“Hero of Our Time” M.Yu. Lermontov - the first psychological

novel in Russian literature.

Objective of the lesson:- to awaken interest in the novel by M.Yu. Lermontov.

Tasks:

remind students about the basic characteristic features the life of Russian society in the 30s of the 19th century, about the fate of the younger generation of this time;

introduce the ideological concept of the novel “A Hero of Our Time” and the subsequent literary and critical reviews 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 learning new knowledge.

Lesson progress

Epigraph for the lesson:

“Hero of Our Time, my dear sirs,

exactly a portrait, but not of one person: it’s a portrait,

made up of the vices of our entire generation,

in its full development"

M.Yu.Lermontov

I. Opening remarks teachers.

Roman M.Yu. Lermontov's “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 completely completed in 1839. Soon its first chapters appeared in the journal Otechestvennye Zapiski: 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 next story, “Fatalist”, was published, and then the story “Fatalist” 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 under the title “Hero of Our Time.”

The 1830s and 1840s in the history of Russia, when the action of the work takes place, 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 progressive thinking people was especially tragic. Young Lermontov’s feelings of sadness were caused by the fact that “the future generation has no future.” Passivity, disbelief, indecision, loss of purpose in life and interest in it - these are the main features of the writer’s young contemporaries.

In his work, Lermontov wanted to show what the Nikolaev reaction doomed the younger generation to. The very title of the novel, “A Hero of Our Time,” is evidence of 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“a modern man as he understands him and, unfortunately, has met him too often.”

Pechorin is a richly gifted person. The hero does not overestimate himself at all when he openly says about himself: “I feel immense strength in my soul.” With his novel, Lermontov gives an answer to the question: why are energetic and smart people do not find use for their remarkable abilities and thus “wither without a fight” at the very beginning life path? The author's closest attention is paid to the main character, to revealing his complex and contradictory character.

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

Vocabulary work

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

- name the defining characteristics of a psychological novel.

Techniques for creating psychologism can be the hero’s self-analysis, assessment of the hero’s actions from the perspective of other characters, or the author’s analysis of character. In his work, Lermontov uses all these techniques, which makes the work deeper.

A bit of literary theory.

Please remember what the plot of a work and the plot are.

Plot(French sujet - subject) - an event or a set of events in epic and dramatic works, the development of which allows the writer to reveal the characters of the characters and the essence of the depicted phenomena in accordance with the author's intention.

Fable (Latin fabula - story) - a chain, a series of events in an epic or dramatic work, underlying the plot in chronological order.

II. Finding out students’ initial impressions of the novel “A Hero of Our Time.”

Conversation with the class

Which of the stories that make up the work that you read made the greatest impression on you?

Tell us about your attitude towards the main character.

What events from the life of Grigory Pechorin did we learn about after reading the chapter “Bela”?

On whose behalf is this chapter narrated? What role does this play in the narrative itself?

Who is Maxim Maksimych, on whose behalf the story is told in the chapter “Bela”? What can you tell us about him?

Is Maxim Maksimych the person who is able to understand Grigory Pechorin?

III. Features of the novel's composition

Questions:

1. What is a plot work of art?

2. What plot elements do you know?

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

4. What is special about the composition “Hero of Our Time”? Is it possible to identify elements of the plot that you already know?(A feature of the novel’s composition 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: it connects all these parts into a single novel.)

5. Consider the difference between chronological and compositional order, which 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 the place of service he visits Pyatigorsk, where he was exiled to the fortress for a quarrel and a duel with Grushnitsky. In the fortress, events happen to him that are described in the stories “Bela” and “Fatalist”. A few years later, Pechorin meets Maxim Maksimych.

Chronologically, the stories should be arranged as follows:

1. "Taman".

2. "Princess Mary".

3. "Bela".

4. "Fatalist".

5. “Maksim Maksimych.”

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

1. "Bela".

2. “Maksim Maksimych.”

3. "Taman".

4. "Princess Mary".

5. "Fatalist".

The last three stories are the diary of the main character, which shows the story of his life, written by himself.

Questions:

1) Why does Lermontov structure his novel this way?

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

3) In what form were the first two stories written? What's special about the next three stories?

Conclusions. “Pechorin is the main character of the novel. The characters are arranged in contrasting ways. The point is to emphasize: Pechorin is the center of the story, the Hero of his time. Composition of the work (change of narrators, violation of the chronology of events, genre of travel and diary notes, grouping characters) helps to reveal Pechorin’s character and identify the reasons that gave birth 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 internal disclosure.

IV. Literary and critical reviews of M. Yu. Lermontov’s novel “A Hero of Our Time.”

1. S. Burachek : Pechorin is a “monster”, “slander on an entire generation.”

2. S. Shevyrev : “Pechorin is only a ghost cast upon us by the West.”

3. V. Belinsky : “Pechorin... a hero of our time.”

4. A. Herzen : “Pechorin is Onegin’s younger brother.”

Questions:

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

Reading the preface.

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

Homework

1. The stories “Bela”, “Maksim Maksimych”. (Characters, content, features of composition and genre, attitude towards Pechorin.)

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

Municipal educational institution

Secondary school No. 7.

Abstract

on literature on the topic:

« Pechorin is a hero of its time"

(based on the novel by M.Yu. Lermontov “Hero of Our Time”).

Completed:

Antipina Ksenia.

Teacher: Fitisova Tatyana Anatolyevna.

Segezha, 2012.

1. My attitude towards Pechorin.

2. The novel “A Hero of Our Time” is the first psychological novel in Russian literature.

3. Critics about the novel by M.Yu. Lermontov.

4. What does Pechorin deserve more - condemnation or sympathy?

5. Pechorin is a hero of any time.

My attitude towards Pechorin.

I look sadly at our generation!

His future is either empty or dark,

Meanwhile, under the burden of knowledge and doubt,

It will grow old in inaction.

And we hate and we love by chance,

Without sacrificing anything, neither anger nor love,

And some secret cold reigns in the soul,

When the fire boils in your chest.

M.Yu. Lermontov “Duma”.

Grigory Aleksandrovich Pechorin...I like him, although, as stated in the preface to the novel, this is “a portrait made up of the vices of Lermontov’s generation.” Would a portrait of the vices of my generation look better than the image of Lermontov’s hero?

I don't want to justify Pechorin. He is selfish, and everything he does, good or bad, he does only for himself. But he is brave. Knowing about the vile plan of Grushnitsky and the dragoon captain, he, standing unarmed on the edge of the abyss at the point of Grushnitsky’s pistol, does not feel fear. He is even capable of generosity: he is ready to forgive Grushnitsky.

His character is contradictory. His composure in a duel is caused by the desire to satisfy his offended pride. Even the reason for the duel was selfish: Pechorin challenged Grushnitsky not in order to defend the honor of Princess Mary, but in order to destroy Grushnitsky’s plans and laugh at him.

He is not capable of sincere, pure, selfless love. He likes to be loved, he likes to make women fall in love with him. For him, love is a means to at least a little relieve boredom. Proof of this is his relationship with Bela, Princess Mary, Vera. He made them all unhappy. But at the same time, one cannot but agree that there is nobility in his relationships with women.

Pechorin does not know how and does not want to be friends. “...Of two friends, one is always the slave of the other...; I cannot be a slave, and in this case commanding is tedious work, because at the same time I must deceive; and besides, I have lackeys and money!” - this is how he writes about friendship. That's why he has no friends. Werner, a man very close in spirit to Pechorin, turns away from him after a duel with Grushnitsky. But, you see, Pechorin is morally superior to Werner. Werner is not able to take responsibility, unlike Pechorin.

There is one very important feature in Pechorin for me, a feature for which I respect him: he is honest with himself. Pechorin's journal is the confession of an intelligent and in many ways unhappy man. Pechorin is dissatisfied with himself and his life, he believes that he mediocrely squandered everything that nature generously endowed him with. He judges himself for almost every action, and judges mercilessly. “Moral cripple” - that’s what he calls himself in a conversation with Mary. To give yourself such a characteristic, you need to have a certain courage. According to Pechorin, his upbringing, environment, and the attitude of those around him made him a “moral cripple.”

In Pechorin’s journal there are his words about himself, words that deeply touched me: “Am I a fool or a villain, I don’t know, but it is true that I am also very worthy of regret.” In fact, Pechorin still has feelings that do him honor. He, for example, has not lost his sense of beauty. How deeply he is moved by the beauty of nature on the morning before the duel!

In my opinion, Pechorin is not only a hero of his time. Are there not enough young people today who are restless, who have neither purpose nor meaning in life? “Suffering egoists”?

I think now the number of such people is only increasing. IN modern life There are many ways to exercise your abilities, but some people consider it a waste of time. How many people have ruined their own destiny by unwillingness to use their opportunities? It seems to me that in order to develop your skills, it is enough to believe in yourself, be able to direct your strength in the right direction and be an optimist.

The novel “A Hero of Our Time” is the first psychological novel in Russian literature.

M.Yu. Lermonotov’s novel “Hero of Our Time” is the first psychological novel in Russian literature. The work was published in 1840. The second edition (1841) differed from the first by the presence of a preface, in which the author clarified for readers - contemporaries who misunderstood the meaning of the image of the main character. “A hero of our time,” writes Lermontov, “is exactly a portrait, but not of one person: it is a portrait made up of the vices of an entire generation in their full development.” Creating a portrait of Pechorin, Lermontov set the task of creating a portrait of an entire generation of the post-December era, in order to understand the illness of this generation.

By creating a portrait of Pechorin, he wants to tell “the story of the human soul.” And the key to unraveling the character of the hero is the composition of the novel. This is a series of portraits of Pechorin, made from different angles: first, the portrait is given through the eyes of staff captain Maxim Maksimych, who loves but does not understand Pechorin: “He was a nice guy... just a little strange” (short story “Maksim Maksimych”). Then a traveling officer, a nobleman-intellectual, looks at him and draws his verbal portrait (the first psychological portrait in Russian literature). But even after this there remains a feeling of mystery.

After the short story “Maksim Maksimych” there is a message about the death of Pechorin. If the reader had followed the events of Pechorin's life, the novel could have been put aside. But the mystery of Pechorin remains. It is after this that “Pechorin's Journal” follows - his confession. “A Hero of Our Time” is a novel, the ideological and plot core of which was not an external biography (life and adventures), but rather the personality of a person, his spiritual and mental life, depicted from the inside, as a process. And if in the first part of the novel (“Bela”, “Maksim Maksimych”) the hero was revealed as brave, looking for love and adventure with a beautiful mountain woman, bored, disappointed, indifferent even to his own fate, then in the confessional diary of the second part of the novel Pechorin appears very different. He boldly plunges himself into a dangerous adventure (“Taman”), a subtle psychologist, ambitious and powerful, sometimes simple, sincere and gentle in private, cruel and unforgiving to his opponents. IN last chapter“Fatalist” Pechorin challenges fate itself, as always, trying to test everything practically. Pechorin's logic is as follows: Lieutenant Vulich's pistol misfires - an accident, since Pechorin noticed the stamp of death on his face. Vulich dies that same night, hacked to death by a drunken Cossack who happened to meet him. Then Pechorin himself, leaving the other participants in the capture of the Cossack, rushes towards danger and takes control of the situation.

“A Hero of Our Time” is the first psychological novel in Russian literature. The problem of personality is central in the novel: “The history of the human soul... is almost more interesting and useful than the history of an entire people.” The problem of personality is central in the novel: “The history of the human soul... almost more curious and not more useful than the history of an entire people” (M.Yu. Lermontov) (M.Yu. Lermontov) To understand is the goal of our lesson.

Maxim Maksimych - staff captain, a man of the people, has served in the Caucasus for a long time, has seen a lot in his lifetime. kind man, but limited. He spent a lot of time with Pechorin, but never understood the “oddities” of his aristocratic colleague, a man of a social circle too far from him. Maxim Maksimych - staff captain, a man of the people, has served in the Caucasus for a long time, has seen a lot in his lifetime. A kind person, but limited. He spent a lot of time with Pechorin, but never understood the “oddities” of his aristocratic colleague, a man in a social circle too far from him.

Traveling officer (officer-narrator). He is able to understand Pechorin more deeply, and is closer to him in his intellectual and cultural level than Maxim Maksimych. However, he can only be judged on the basis of what he heard from the kind but limited Maxim Maksimych. Pechorin “...saw...only once...in my life on the high road” Traveling officer (officer-narrator). He is able to understand Pechorin more deeply, and is closer to him in his intellectual and cultural level than Maxim Maksimych. However, he can only be judged on the basis of what he heard from the kind but limited Maxim Maksimych. Pechorin “...saw...only once...in my life on the high road.” Subsequently, having familiarized himself with Pechorin’s diary, which fell into his hands, the narrator will express his opinion about the hero, but it is neither exhaustive nor unambiguous. Subsequently, having familiarized himself with Pechorin’s diary, which fell into his hands, the narrator will express his opinion about the hero, but it is neither exhaustive nor unambiguous.

And finally, the narrative passes entirely into the hands of the hero himself - a sincere man, “who so mercilessly exposed his own weaknesses and vices”; a man of mature mind and unconceited. And finally, the narrative passes entirely into the hands of the hero himself - a sincere man, “who so mercilessly exposed his own weaknesses and vices”; a man of mature mind and unconceited. Where is the author? Why does he seem to go backstage? Narratives, “delegates the narrative to intermediaries? Where is the author? Why does he seem to go backstage? Narratives, “delegates the narrative to intermediaries?

How does Lermontov build the plot of the work? Plot is a set of events in a work of art. Plot is a set of events in a work of art. 1. “Bela” /4/ 1. “Bela” /4/ 2. “Maksim Maksimych” /5/ 2. “Maksim Maksimych” /5/ 3. “Preface to the Pechorin Magazine” /6 3. Preface to the Journal Pechorin"/6 4. "Taman" /1/ 4. "Taman" /1/ 5. "Princess Mary" /2/ 5. "Princess Mary" /2/ 6. "Fatalist"/3/ 6. "Fatalist" "/3/

Restore the chronological order of events. “Taman”: around 1830 - Pechorin goes from St. Petersburg to the active detachment and stops in Taman; “Taman”: around 1830 - Pechorin goes from St. Petersburg to the active detachment and stops in Taman; “Princess Mary”: May 10 -June 17, 1832; Pechorin comes from the active detachment to water in Pyatigorsk and then to Kislovodsk; after a duel with Grushnitsky, he was transferred to the fortress under the command of Maxim Maksimych; “Princess Mary”: May 10 -June 17, 1832; Pechorin comes from the active detachment to water in Pyatigorsk and then to Kislovodsk; after a duel with Grushnitsky, he was transferred to the fortress under the command of Maxim Maksimych;

“Fatalist”: December 1832 - Pechorin comes from Maxim Maksimych’s fortress to Cossack village; “Fatalist”: December 1832 - Pechorin comes from Maxim Maksimych’s fortress to the Cossack village for two weeks; “Bela”: spring 1833 - Pechorin kidnaps the daughter of “Prince Mirnov”, and four months later she dies at the hands of Kazbich; “Bela”: spring 1833 - Pechorin kidnaps the daughter of “Prince Mirnov”, and four months later she dies at the hands of Kazbich; “Maxim Maksimych”: autumn 1837 - Pechorin, going to Persia, again finds himself in the Caucasus and meets Maxim Maksimych. “Maxim Maksimych”: autumn 1837 - Pechorin, going to Persia, again finds himself in the Caucasus and meets Maxim Maksimych.

Let us restore the picture made by Lermontov of “chronological shifts”. It looks like this: the novel begins from the middle of events and is carried through sequentially until the end of the hero’s life. Then the events in the novel unfold from the beginning of the depicted chain of events to its middle. It looks like this: the novel begins from the middle of events and is carried through sequentially until the end of the hero’s life. Then the events in the novel unfold from the beginning of the depicted chain of events to its middle.

Why does Lermontov violate the chronology of events? Lermontov created absolutely new novel– new in form and content: a psychological novel. Lermontov created a completely new novel - new in form and content: a psychological novel. Psychologism is a fairly complete, detailed and deep depiction of feelings, thoughts and experiences literary character using specific means fiction Psychologism is a fairly complete, detailed and deep depiction of the feelings, thoughts and experiences of a literary character using specific means of fiction

The plot becomes “the history of the human soul” The plot becomes “the history of the human soul” Lermontov lets us first hear about the hero, then look at him and, finally, opens his diary to us Lermontov lets us first hear about the hero, then look at him and, finally , opens his diary to us

The change of narrators is aimed at making the analysis of the inner world deeper and more comprehensive. The change of narrators is aimed at making the analysis of the inner world deeper and more comprehensive. Kind, but limited Maxim Maksimych. Kind, but limited Maxim Maksimych. The officer is the narrator. The officer is the narrator. “Observations of a mature mind on itself.” “Observations of a mature mind on itself.”

V.G. Belinsky argued that the novel “despite its occasional fragmentation, you cannot read it in a different order than the author arranged it: otherwise you will read two excellent stories and several excellent short stories, but you will not know the novel” V.G. Belinsky argued that the novel “despite its occasional fragmentation, you cannot read it in a different order than the author arranged it: otherwise you will read two excellent stories and several excellent short stories, but you will not know the novel.”

M.Yu. Lermontov felt the novelty of his work, which combined such genres as travel essay, short story, secular story, Caucasian short story, and had every reason for this. This was the first psychological novel in Russian literature. M.Yu. Lermontov felt the novelty of his work, which united such genres as travel essay, short story, secular story, Caucasian short story, and had all sorts of reasons for this. It was the first psychological novel in Russian literature