Pechorin and the “water society” in the novel by M.Yu. Lermontov "Hero of Our Time".
Pyatigorsk, Elisavetinsky spring, where the “water society” gathers. Walking along the boulevard, Pechorin meets " for the most part families of steppe landowners,” who followed him with their gaze “with tender curiosity,” but, “recognizing the army epaulettes... turned away indignantly.” Local ladies were more favorable, they “were used to meeting in the Caucasus an ardent heart under a numbered button and an educated mind under a white cap . These ladies are very nice; and sweet for a long time!"
Pechorin overtakes a crowd of men who “form a special class of people among those who are waiting for the movement of water. They drink - but not water, they walk a little, they dangle only in passing; they play and complain about boredom. They are dandies: lowering their braided glass into a well of sour sulfur water, they take academic poses..."
Lermontov described these snobs extremely accurately and sarcastically. And it was no coincidence that he assembled 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 terminally ill... Among With them, Pechorin becomes a “moral cripple”, devoid of ordinary human feelings.
Criticism greeted the new work ambiguously: a heated controversy ensued. Along with the stormy enthusiasm of Belinsky, who called Lermontov’s novel a work of “a completely new world of art,” who saw in it “a deep knowledge of the human heart and modern society", "richness of content and originality", the press heard the voices of critics who absolutely did not accept the novel. One of Lermontov's most ardent opponents, a certain A.S. Burachok, argued that the image of the novel's protagonist is "aesthetic and psychological absurdity", and in the work itself “there are no traces of Russian folk philosophy or religiosity.” But no matter how we evaluate the novel, we cannot fail to note the skill with which Lermontov wrote out his main character. Throughout the entire work, the author strives to reveal it as fully as possible. inner world Grigory Alexandrovich Pechorin. The compositional complexity of the novel is inextricably linked with the psychological complexity of the image of the main character, and the panopticon of the “water society” helps to reveal this image more deeply.
The hero's inner world is revealed most fully and deeply 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 hero’s whole life is a chain of experiments on himself and other people. Its goal is to comprehend the truth, human nature, evil, good, love. This is exactly what happens in the case of Grushnitsky. Why is the young cadet so unpleasant to Pechorin? As we see, Grushnitsky is by no means a villain worth fighting. This is the most ordinary young man, dreaming of love and stars on his uniform. He is mediocre, but he has one weakness that is quite forgivable at his age - “draping himself into 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 kind of secret suffering.” Of course, the reader understands that this is a parody of Pechorin! That is why Pechorin hates him so much. Grushnitsky, as a narrow-minded person, does not understand Pechorin’s attitude towards him, does not suspect that he has already started 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 to be a very insightful and significant person: “I feel sorry for you, Pechorin,” this is how he speaks at the beginning of the novel. But events develop the way Pechorin wants it; Mary falls in love with him, forgetting about Grushnitsky. Overwhelmed by jealousy, indignation, and then hatred, the cadet suddenly reveals himself to us from a completely different side. He turns out to be not so harmless. He becomes vindictive, and then dishonest. , vile One who recently dressed up as nobility is today capable of shooting at an unarmed person. Pechorin’s experiment was a success.” Here the “demonic” property of his nature to “sow evil” manifested itself with full force greatest art During the duel, Pechorin again tests 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.
“A Hero of Our Time” is a socio-psychological novel in which the author set himself the task of revealing the inner world of the hero, “exploring the human soul.”
Lermontov is a romantic, so the problem of personality is central problem romanticism in the poet's work. However, the innovation of “A Hero of Our Time” lies in the fact that the conflict between the individual and the surrounding world is resolved using a variety of means, both romantic and realistic.
Pechorin – main character novel, is social type. Traditionally, following Onegin, he is placed in the gallery “ extra people”.
The images of Pechorin and Onegin have a lot in common, from details, character traits, to the situations in which they find themselves. However, the conflict between the individual and society in “A Hero of Our Time” is more acute than in “Eugene Onegin,” since Pechorin “frantically chases after life,” but receives nothing from it, and Onegin simply “goes with the flow.”
The composition of the novel is subordinated to the main task that the author set for himself - solving the problem of personality. In Pechorin’s journal, the central story is “Princess Mary,” in which the character of the hero is revealed from the inside, that is, Lermontov uses such an artistic device as confession. All artistic media– portrait, landscape, dialogues, details – worn psychological character. In the story, with the help of an expanded figurative system The secret of the hero's character is revealed.
Lermontov, like many romantics, contrasts personality and society, and he places his hero in different environments, pushes him against different people. We can see this in the stories “Bela”, “Taman” and “Princess Mary”.
In the psychological story “Princess Mary,” Pechorin’s personality is contrasted with the “water society,” and the hero’s attitude towards this society and society in general is shown. “Water Society” is collective image representatives of local and metropolitan nobility, in whose behavior and life the features of the described era can be traced. The conflict between the individual and society is embodied not only in revealing the character of the main character, but also in the depiction of the “water society”, their life, interests, and entertainment.
Pechorin notes with slight contempt the carefully hidden envy of each other, the love of gossip and intrigue. The life and customs of visitors to the Caucasian mineral waters, which both the author himself and the main character are ironic about, are determined by history and traditions. The image of the “water society” is also given in parallel with the image of the secular society, which Pechorin mentions and which has more than once been the object of study in the works of Griboedov and Pushkin.
In general, the entire “water society” is opposed to Pechorin. However, it is still possible to identify heroes who are not only opposed to Pechorin, but also compared with him.
Grushnitsky is a kind of parody of Pechorin. What for Pechorin constitutes the essence of character, for Grushnitsky it is a pose designed to produce an effect, an impression on others. Grushnitsky is an anti-romantic hero. His penchant for romanticization is carried to the point of caricature. He shows off and often behaves inappropriately to the situation. In everyday life he looks for romantic circumstances, but in truly romantic situations he gets lost. Grushnitsky's participation in the duel is ignoble and vile, but he cannot refuse it, since he is very proud. There are many external details in his image (overcoat, crutch, limp, ring with the date of his acquaintance with Mary). Obviously, the image of Grushnitsky was created not without the influence of Lensky: both are romantics, both were killed in a duel, both are younger than their friend-enemy.
Werner is the only one male image, which is compared with Pechorin, and not opposed. Their similarities are manifested in their relationships with society, skepticism, and wit. But along with general features there are many differences in their characters. Pechorin is “madly chasing after life,” while Werner is passive. Werner is a less deep and complex nature than Pechorin. Before the duel, Pechorin admires nature, and Werner asks if he wrote his will. In appearance Werner can be traced romantic traits, but he is a contradictory nature.
All female images presented in the novel are also subordinated to the main task - revealing the image of Pechorin and showing his relationship to love. Of all the female characters, Princess Mary is depicted most fully. Like Grushnitsky, she is passionate about romanticism, she is young, smart, witty. The princess's purity and naivety makes Pechorin's selfishness even more obvious. The story of Mary's seduction is an occasion for deep introspection and detailed internal monologues in Pechorin's diary. In a conversation with Mary, Pechorin talks about his fate (relationships with society, inclinations, quirks of character).
Faith is the most obscure image, incompletely outlined, and given only by hints. This is the only one female image, which is compared with Pechorin. It is in his relationship with Vera that the tragedy of Pechorin’s situation is most fully felt, his inability to deeply and truly love: he doesn’t even need Vera. This emphasizes the loneliness of the hero, his inability to true feeling, reveals internal conflict hero. Romantic irony illuminates the relationship between Pechorin and Vera: Pechorin drives his horse, trying to catch up with Vera, and then falls asleep to Napoleon at Waterloo.
In addition, Lermontov pays attention a large number other, less noticeable, but also very important for creating a more complete picture of society, heroes who, without exception, are subject to the principle of typification, which speaks of the realism of the novel. At the same time, the author proceeds from traditional types, relying on creative experience their predecessors, Griboyedov and Pushkin.
As soon as Pechorin arrives in Pyatigorsk, he becomes acquainted with the customs of the families of the steppe landowners: “... the St. Petersburg cut of the frock coat misled them, but, soon recognizing the army epaulettes, they turned away indignantly.”
Here we learn about the wives of local bosses, “mistresses of the waters”: “... they pay less attention to the uniform, they are accustomed in the Caucasus to meet an ardent heart under a numbered button and an educated mind under a white cap.”
A special class in the “water society” is made up of men, civilians and military (Captain Dragunsky, who with his participation in the duel resembles Zaretsky). The “water youth” stands out separately. In general, it is difficult to imagine anything new that has not yet been depicted in the works of Griboyedov and Pushkin. The same passion for rank, sycophancy, the same balls, gossip, idle pastime, emptiness, which reign not as vices of society, but as elements public life. Everything is the same, only with the difference that we saw there secular society, and here it is provincial, which is trying with all its might to resemble the capital. Against the background of all this, it is impossible not to note with what irony not only specific images are drawn, but also the entire atmosphere.
Thus, the “water society” is not an accidental theme in the novel. The problem of the individual, her relationships with others are main task of Lermontov's entire work. At the same time, he is a continuator of the traditions of Russian literature of the 19th century century.
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On business, the main character of Lermontov's work, Pechorin, found himself in Pyatigorsk, a Caucasian resort town. At the first meeting with the city, Pechorin identified three groups into which the population of the town was divided.
The first group included families of steppe landowners. One could guess this from their appearance and activities.
The second group included local ladies - wives of the authorities. These are typical representatives of the provinces, who in no way want to lag behind the ladies of the capital. They have many admirers, who are replaced by new ones every year.
And the third group with which Pechorin was to spend time was “a special class of people among those who expect the movement of water.” These in Pyatigorsk include men on vacation, military and civilians. These young people are dandies. They spend time walking around the city and in the mansions of Princess Ligovka, who came to the mineral springs with her daughter.
Outwardly, these young dandies are decent people and look decent. But under the attractive appearance hide intriguers and hypocrites, sycophants and braggarts. These are spiritually impoverished people. They do not know how to see “simply beautiful”; these people are looking for the extraordinary, obeying fashion. They get bored and complain about boredom, they play gambling and attend all the local balls. Their whole life proceeds monotonously, everything repeats itself day after day. This is the way of life of any secular society, be it in St. Petersburg or in another Russian city of that time. Pechorin is also one of these people, but he stands above the surrounding noble environment. He's smart educated person who has not found use for his abilities. He is fed up with all secular customs and strives for a hectic life. But even when he gets to Pyatigorsk, he encounters the same rules here as in the capital. He sees that in the Caucasus life is moving along the same rut. And therefore, disgust brews in him for those people among whom he is forced to be. He angrily ridicules the moral squalor of the “water youth,” although he does not understand why he is seeking this. And in general, Pechorin is a man full of contradictions. His inconsistency is manifested even in his appearance and, even more so, in his character, in his relationships with people. That's why he has many enemies.
I came to the conclusion that Pechorin, like Onegin, lost himself, suffocated in secular philistine society. Just like his “older brother” Onegin, he tried to break out of this vicious circle. Without losing faith in his own strength, Pechorin tried to find himself in literature, science, in any other work, but gradually he got bored with it, then coolness and indifference to life set in. Many smart people At that time, for the same reason, they could not apply their knowledge to the benefit of people.
Comparing Pechorin with the heroes of the works of writers of that century: Pushkin, Griboyedov, Gogol, Tolstoy, I was convinced that almost all the leading writers of that period were concerned about this social theme: the hero of his time and his relationship with society.
“A Hero of Our Time” is a socio-psychological novel in which the author set himself the task of revealing the inner world of the hero, “exploring the human soul.”
Lermontov is a romantic, therefore the problem of personality is the central problem of romanticism and, naturally, the poet’s work. However, the innovation of “A Hero of Our Time” lies in the fact that the conflict between the individual and the surrounding world is resolved using a variety of means, both romantic and realistic.
Pechorin, the main character of the novel, is a social type. Traditionally, following Onegin, he is placed in the gallery of “extra people.”
The images of Pechorin and Onegin have a lot in common, from details, character traits, to the situations in which they find themselves. However, the conflict between the individual and society in “A Hero of Our Time” is more acute than in “Eugene Onegin,” since Pechorin “frantically chases after life,” but receives nothing from it, and Onegin simply “goes with the flow.”
The composition of the novel is subordinated to the main task that the author set for himself - solving the problem of personality. In Pechorin’s journal, the central story is “Princess Mary,” in which the character of the hero is revealed from the inside, that is, Lermontov uses such an artistic device as confession. All artistic means - portrait, landscape, dialogue, details - are psychological in nature. In the story, with the help of an expanded figurative system, the secret of the hero’s character is revealed.
Lermontov, like many romantics, contrasts personality and society, and he places his hero in different environments, pitting him against different people. We can see this in the stories “Bela”, “Taman” and “Princess Mary”.
In the psychological story “Princess Mary,” Pechorin’s personality is contrasted with the “water society,” and the hero’s attitude towards this society and society in general is shown. “Water Society” is a collective image of representatives of the local and metropolitan nobility, in whose behavior and life one can trace all characteristic features the era described. The conflict between the individual and society is embodied not only in revealing the character of the main character, but also in the depiction of the “water society”, their life, interests, and entertainment.
Pechorin notes with slight contempt the carefully hidden envy of each other, the love of gossip and intrigue. The life and customs of visitors to the Caucasian mineral waters, which both the author himself and the main character are ironic about, are determined by history and traditions. The image of the “water society” is also given in parallel with the image of the secular society, which Pechorin mentions and which has more than once been the object of study in the works of Griboedov and Pushkin.
In general, the entire “water society” is opposed to Pechorin. However, it is still possible to identify heroes who are not only opposed to Pechorin, but also compared with him.
Grushnitsky is a kind of parody of Pechorin. What for Pechorin constitutes the essence of character, for Grushnitsky it is a pose designed to produce an effect, an impression on others. Grushnitsky is an anti-romantic hero. His penchant for romanticization is carried to the point of caricature. He shows off and often behaves inappropriately to the situation. In everyday life he looks for romantic circumstances, but in truly romantic situations he gets lost. Grushnitsky's participation in the duel is ignoble and vile, but he cannot refuse it, since he is very proud. There are many external details in his image (overcoat, crutch, limp, ring with the date he met and the name Mary). Obviously, the image of Grushnitsky was created not without the influence of the image of Lensky: both are romantics, both were killed in a duel, both are younger than their friend-enemy.
Werner is the only male image that is compared with Pechorin, and not opposed. Their similarities are manifested in their relationships with society, skepticism, and wit. But along with common features, there are many differences in their characters. Pechorin is “madly chasing after life,” while Werner is passive. Werner is a less deep and complex nature than Pechorin. Before the duel, Pechorin admires nature, and Werner asks if he wrote his will. Werner's appearance shows romantic traits, but he is a contradictory nature.
All female images presented in the novel are also subordinated to the main task - revealing the image of Pechorin and showing his attitude towards love.
Of all the female characters, Princess Mary is depicted most fully. Like Grushnitsky, she is passionate about romanticism, she is young, smart, witty. The princess's purity and naivety makes Pechorin's selfishness even more obvious. The story of Mary's seduction is the reason for deep introspection and extensive internal monologues in Pechorin's diary. In a conversation with Mary, Pechorin talks about his fate (relationships with society, inclinations, quirks of character).
Faith is the most obscure image, incompletely outlined, and given only by hints. This is the only female image that is compared with Pechorin. It is in his relationship with Vera that the tragedy of Pechorin’s situation is most fully felt, his inability to deeply and truly love: he doesn’t even need Vera. This emphasizes the hero’s loneliness, his inability to truly feel, and reveals the hero’s internal conflict. Romantic irony illuminates the relationship between Pechorin and Vera: Pechorin drives his horse, trying to catch up with Vera, and then falls asleep to Napoleon at Waterloo.
In addition, Lermontov pays attention to a large number of other, less noticeable, but also very important for creating a more complete picture of society, heroes who, without exception, are subject to the principle of typification, which indicates the realism of the novel. At the same time, the author proceeds from traditional types, relying on the creative experience of his predecessors, Griboyedov and Pushkin.
As soon as Pechorin arrives in Pyatigorsk, he becomes acquainted with the customs of the families of the steppe landowners: “... the St. Petersburg cut of the frock coat misled them, but soon recognizing the army epaulettes, they turned away indignantly.”
Here we learn about the wives of local bosses, “mistresses of the waters”: “...they pay less attention to the uniform, they are accustomed in the Caucasus to meet an ardent heart under a numbered button and an educated mind under a white cap.”
A special class in the “water society” is made up of men, civilians and military (Captain Dragunsky, who with his participation in the duel resembles Zaretsky). The “water youth” stands out separately. In general, it is difficult to imagine anything new that has not yet been depicted in the works of Griboyedov and Pushkin. The same passion for rank, sycophancy, the same balls, gossip, idle pastime, emptiness, which dominate not as the vices of society, but as the elements of social life. Everything is the same, only with the difference that there we saw a secular society, and here a provincial one, which is trying with all its might to resemble the capital. Against the background of all this, it is impossible not to note with what irony not only specific images are drawn, but also the entire atmosphere.
Thus, the “water society” is not an accidental theme in the novel. The problem of personality, its relationships with others are the main task of all Lermontov’s work. At the same time, he is a continuator of the traditions of Russian literature of the 19th century,
Collection of works: Pechorin and the “water society” in M. Yu. Lermontov’s novel “A Hero of Our Time”
“A Hero of Our Time” is a socio-psychological novel in which the author set himself the task of revealing the inner world of the hero, “exploring the human soul.”
Lermontov is a romantic, therefore the problem of personality is the central problem of romanticism in the poet’s work. However, the innovation of “A Hero of Our Time” lies in the fact that the conflict between the individual and the surrounding world is resolved using a variety of means, both romantic and realistic.
Pechorin, the main character of the novel, is a social type. Traditionally, following Onegin, he is placed in the gallery of “extra people.”
The images of Pechorin and Onegin have a lot in common, from details, character traits, to the situations in which they find themselves. However, the conflict between the individual and society in “A Hero of Our Time” is more acute than in “Eugene Onegin,” since Pechorin “frantically chases after life,” but receives nothing from it, and Onegin simply “goes with the flow.”
Subordinated to the main task that the author set for himself - solving the problem of personality. In Pechorin’s journal, the central story is “Princess Mary,” in which the character of the hero is revealed from the inside, that is, Lermontov uses such artistic device like a confession. All artistic means - portrait, landscape, dialogue, details - are psychological in nature. In the story, with the help of an expanded figurative system, the secret of the hero’s character is revealed.
Lermontov, like many romantics, contrasts personality and society, and he places his hero in different environments, pitting him against different people. We can see this in the stories “Bela”, “Taman” and “Princess Mary”.
In the psychological story “Princess Mary,” Pechorin’s personality is contrasted with the “water society,” and the hero’s attitude towards this society and society in general is shown. “Water Society” is a collective image of representatives of the local and metropolitan nobility, in whose behavior and life the features of the described era can be traced. The conflict between the individual and society is embodied not only in revealing the character of the main character, but also in the depiction of the “water society”, their life, interests, and entertainment.
Pechorin, with slight contempt, notices the carefully hidden envy of each other, the love of gossip and intrigue. visitors to Caucasian mineral waters, which both the author himself and the main character are ironic about, are determined by history and traditions. The image of the “water society” is also given in parallel with the image of the secular society, which Pechorin mentions and which has more than once been the object of study in the works of Griboedov and Pushkin.
In general, the entire “water society” is opposed to Pechorin. However, it is still possible to identify heroes who are not only opposed to Pechorin, but also compared with him.
Grushnitsky is a kind of parody of Pechorin. What for Pechorin constitutes the essence of character, for Grushnitsky it is a pose designed to produce an effect, an impression on others. Grushnitsky is an anti-romantic hero. His penchant for romanticization is carried to the point of caricature. He shows off and often behaves inappropriately for the situation. In everyday life he looks for romantic circumstances, but in truly romantic situations he gets lost. Grushnitsky's participation in the duel is ignoble and vile, but he cannot refuse it, since he is very proud. There are many external details in his image (overcoat, crutch, limp, ring with the date of his acquaintance with Mary). Obviously, the image of Grushnitsky was created not without the influence of Lensky: both are romantics, both were killed in a duel, both are younger than their friend-enemy.
Werner is the only male image that is compared with Pechorin, and not opposed. Their similarities are manifested in their relationships with society, skepticism, and wit. But along with common features, there are many differences in their characters. Pechorin is “madly chasing after life,” while Werner is passive. Werner is a less deep and complex nature than Pechorin. Before the duel, Pechorin admires nature, and Werner asks if he wrote his will. Werner's appearance shows romantic traits, but he is a contradictory nature.
All female images presented in the novel are also subordinated to the main task - revealing the image of Pechorin and showing his relationship to love. Of all the female characters, Princess Mary is depicted most fully. Like Grushnitsky, she is passionate about romanticism, she is young, smart, witty. The purity and naivety of the princess makes Pechorin's selfishness even more obvious. The story of Mary's seduction is the reason for deep introspection and extensive internal monologues in Pechorin's diary. In a conversation with Mary, Pechorin talks about his fate (relationships with society, inclinations, quirks of character).
Faith is the most obscure image, incompletely outlined, and given only hints. This is the only female image that is compared with Pechorin. It is in his relationship with Vera that the tragedy of Pechorin’s situation is most fully felt, his inability to deeply and truly love: he doesn’t even need Vera. This emphasizes the hero’s loneliness, his inability to truly feel, and reveals the hero’s internal conflict. Romantic irony illuminates the relationship between Pechorin and Vera: Pechorin drives his horse, trying to catch up with Vera, and then falls asleep to Napoleon at Waterloo.
In addition, Lermontov pays attention to a large number of other, less noticeable, but also very important for creating a more complete picture of society, heroes who, without exception, are subject to the principle of typification, which indicates the realism of the novel. At the same time, the author proceeds from traditional types, relying on the creative experience of his predecessors, Griboyedov and Pushkin.
As soon as Pechorin arrives in Pyatigorsk, he becomes acquainted with the customs of the families of the steppe landowners: “... the St. Petersburg cut of the frock coat misled them, but, soon recognizing the army epaulettes, they turned away indignantly.”
Here we learn about the wives of local bosses, “mistresses of the waters”: “...they pay less attention to the uniform, they are accustomed in the Caucasus to meet an ardent heart under a numbered button and an educated mind under a white cap.”
A special class in the “water society” is made up of men, civilians and military (Captain Dragunsky, who with his participation in the duel resembles Zaretsky). The “water youth” stands out separately. In general, it is difficult to imagine anything new that has not yet been depicted in the works of Griboyedov and Pushkin. The same passion for rank, sycophancy, the same balls, gossip, idle pastime, emptiness, which dominate not as the vices of society, but as the elements of social life. Everything is the same, only with the difference that there we saw a secular society, and here a provincial one, which is trying with all its might to resemble the capital. Against the background of all this, it is impossible not to note with what irony not only specific images are drawn, but also the entire atmosphere.
Thus, the “water society” is not an accidental theme in the novel. The problem of the individual, her relationships with others are the main task of Lermontov’s entire work. At the same time, he is a continuator of the traditions of Russian literature of the 19th century.
