Literature project (9th grade) on the topic: Research work “Hero of our time” - “a sad thought about our time. Lermontov M.Yu

Mikhail Yuryevich Lermontov, a poet and prose writer, is often compared to Alexander Sergeevich Pushkin. Is this comparison coincidental? Not at all, these two lights marked the golden age of Russian poetry with their creativity. They were both worried about the question: “Who are they: heroes of our time?” Brief Analysis, you see, will not be able to give an answer to this conceptual question, which the classics tried to thoroughly understand.

Unfortunately, the lives of these most talented people were cut short early by a bullet. Fate? Both of them were representatives of their time, divided into two parts: before and after. Moreover, as you know, critics compare Pushkin's Onegin and Lermontov's Pechorin, presenting to readers comparative analysis heroes. “A Hero of Our Time,” however, was written after

Image of Grigory Alexandrovich Pechorin

Analysis of the novel “A Hero of Our Time” clearly defines its main character, who forms the entire composition of the book. Mikhail Yurievich portrayed him as an educated young nobleman of the post-Decembrist era - a person struck by unbelief - who does not carry goodness within himself, does not believe in anything, his eyes do not glow with happiness. Fate carries Pechorin like water autumn leaf, along a disastrous trajectory. He stubbornly “chases… after life”, looking for it “everywhere”. However, his noble concept of honor is more likely associated with selfishness, but not with decency.

Pechorin would be glad to find faith by going to the Caucasus to fight. He has natural spiritual strength. Belinsky, characterizing this hero, writes that he is no longer young, but has not yet acquired a mature attitude towards life. He rushes from one adventure to another, painfully wanting to find an “inner core,” but he fails. Dramas always happen around him, people die. And he rushes on, like the Eternal Jew, Agasfer. If for Pushkin the key word is “boredom”, then for understanding the image of Lermontov’s Pechorin the key word is “suffering”.

Composition of the novel

At first, the plot of the novel brings together the author, an officer sent to serve in the Caucasus, with a veteran, former quartermaster and now quartermaster Maxim Maksimovich. Wise in life, scorched in battle, this man, worthy of all respect, is the first, according to Lermontov’s plan, to begin analyzing the heroes. The hero of our time is his acquaintance. To the author of the novel (on whose behalf the story is told), Maxim Maksimovich tells the story of the “nice little” twenty-five-year-old ensign Grigory Alekseevich Pechorin, a former colleague of the narrator. The first is the story of “Bela”.

Pechorin, resorting to the help of the brother of the mountain princess Azamat, steals this girl from her father. Then she became bored with him, who was experienced in women. He settles with Azamat with the hot horse of the horseman Kazbich, who, getting angry, kills the poor girl. The scam turns into a tragedy.

Maxim Maksimovich, remembering the past, became agitated and handed over to his interlocutor the camp diary left by Pechorin. The following chapters of the novel represent individual episodes of Pechorin's life.

The short story “Taman” brings Pechorin together with smugglers: a girl as flexible as a cat, a pseudo-blind boy and the “smuggling getter” sailor Yanko. Lermontov presented here a romantic and artistically complete analysis of the heroes. “A Hero of Our Time” introduces us to a simple smuggling trade: Yanko crosses the sea with cargo, and the girl sells beads, brocade, and ribbons. Fearing that Gregory will reveal them to the police, the girl first tries to drown him by throwing him off the boat. But when she fails, she and Yanko swim away. The boy is left to beg without a livelihood.

The next fragment of the diary is the story “Princess Mary”. A bored Pechorin is being treated after being wounded in Pyatigorsk. Here he is friends with cadet Grushnitsky, Doctor Werner. Bored, Gregory finds an object of sympathy - Princess Mary. She is resting here with her mother, Princess Ligovskaya. But the unexpected happens - Pechorin’s long-time crush, the married lady Vera, comes to Pyatigorsk along with her aging husband. Vera and Gregory decide to meet on a date. They succeed because, fortunately for them, the whole city is at the performance of a visiting magician.

But cadet Grushnitsky, wanting to compromise both Pechorin and Princess Mary, believing that she will be the one on the date, follows the main character of the novel, enlisting the company of a dragoon officer. Having caught no one, the cadets and dragoons spread gossip. Pechorin, “according to noble standards,” challenges Grushnitsky to a duel, where he kills him with the second shot.

Lermontov's analysis introduces us to pseudo-decency among officers and upsets Grushnitsky's vile plan. Initially, the pistol handed to Pechorin was unloaded. In addition, having chosen the condition - to shoot from six steps, the cadet was sure that he would shoot Grigory Alexandrovich. But his excitement prevented him. By the way, Pechorin offered his opponent to save his life, but he began to demand a shot.

Vera’s husband guesses what’s going on and leaves Pyatigorsk with his wife. And Princess Ligovskaya blesses his marriage to Mary, but Pechorin does not even think about the wedding.

The action-packed short story “Fatalist” brings Pechorin together with Lieutenant Vulich in the company of other officers. He is confident in his luck and, on a bet, fueled by philosophical argument and wine, plays “hussar roulette.” Moreover, the pistol does not fire. However, Pechorin claims that he has already noticed a “sign of death” on the lieutenant’s face. He really dies senselessly, returning to his quarters.

Conclusion

Where did they come from? Russia XIX century "Pechorina"? Where has the idealism of youth gone?

The answer is simple. The 30s marked an era of fear, an era of suppression of everything progressive by the III (political) gendarmerie police department. Born of Nicholas I’s fear of the possibility of a remake of the Decembrist uprising, it “reported on all matters”, was engaged in censorship, censorship, and had the broadest powers.

Hopes for the development of the political system of society became sedition. Dreamers came to be called "troublemakers." Active people aroused suspicion, meetings - repression. The time has come for denunciations and arrests. People began to be afraid to have friends, to trust them with their thoughts and dreams. They became individualists and, like Pechorin, painfully tried to gain faith in themselves.

M. Yu. Lermontov is a poet of the generation of the 30s of the 19th century. “It is obvious,” Belinsky wrote, “that Lermontov is a poet of a completely different era and that his poetry is a completely new link in the chain historical development our society." The era of timelessness, political reaction after the Decembrist uprising in 1825, disappointment in previous ideals gave birth to such a poet as M. Yu. Lermontov, a poet who, with his own main theme I chose the theme of loneliness. And this theme runs through all of his work: it sounds with extraordinary force in the lyrics, in the poems, in the immortal novel “A Hero of Our Time.”

The connection between the “Hero of Our Time” and images lyrical works Lermontova is undeniable. After all main idea The novel was summed up by the poet in the poem “Duma”:

I look sadly at our generation,

His future is either empty or dark.

Meanwhile, under the burden of knowledge or

It will grow old in inaction.

These lines have already expressed thoughts that will be reflected on the pages of the novel, because main character him - Grigory Aleksandrovich Pechorin - and is a typical representative of an entire generation, whose fate reflects all the vices, shortcomings, and illnesses of the society of that era. The author himself will write about this in the preface to the second edition of the novel: “This is a portrait made up of the vices of our entire generation, in their full development.”

What features does the hero of the 1930s have? He is disappointed in life, he has no positive ideals, no goals in life, he does not believe in love or friendship, he laughs at human affections, “life torments him, like a smooth path without a goal, like a feast at someone else’s holiday.”

Grigory Pechorin reminds lyrical hero poem “Both boring and sad...” He is disappointed in love. Thus, the infatuation with the Circassian Bela leads to her premature and absurd death. The hero of the novel exclaims: “To love, but who? For a while it’s not worth the effort, but it’s impossible to love forever...”

Grigory Pechorin also treats life as a game, a stupid joke (“And life, as you look around with cold attention, is such an empty and stupid joke”). He does not value life, is not afraid of death, and happily goes to test his fate, risking being killed by a drunken Cossack or dying in the depths of the sea (“Fatalist”, “Taman”).

Pechorin's reflections in his diary, which is merciless introspection and self-exposure, show the degree of loneliness of the hero. This is also confirmed by the image-symbols characteristic of the poet’s lyrics: Pechorin on a foggy night in “Taman” sees a whitening sail in the distance (“Sail”); remembers the high starry sky, the connection between people, the entire universe, and God (“I go out alone on the road...”, “When the yellowing field is agitated...”). Only the eternal majestic nature calms the hero of the novel and reconciles him with the surrounding reality. It was from this moment that Grigory Pechorin could exclaim: “And I can comprehend happiness on earth, and in heaven I see God.”

“Hero of Our Time” is a wonderful creation of the brilliant Russian poet M. Yu. Lermontov, which is rightfully considered one of best works Russian literature. In “Hero of Our Time,” Lermontov continues to develop the theme begun in his early poems about the fate of his generation, about the tragedy of his contemporaries in the conditions of the most difficult reality that came after the defeat of the Decembrist uprising. The best people Russia was destroyed, their ideas were trampled. A difficult time of reaction came, when a terrible punishment awaited people for any progressive thought, when a person of extraordinary, remarkable abilities could not find use for his mighty powers, his talent. Therefore, in his novel, M. Yu. Lermontov tried to explain the reason for such inaction in society, expose those responsible for it, and also resolve the question that worried many progressive people of that time - what needs to be done to change the current situation, to make people's lives happy and joyful? Revealing the “history of the human soul,” Lermontov showed with some clarity the tragic situation strong personality in the society of the 30s of the nineteenth century, created a true picture of Russian reality.

The main character of the novel, Pechorin, is a man of extraordinary abilities, strong will, and spiritually gifted. But the light in which Pechorin was forced to revolve kills everything good and noble that is in him. In high society, talent and intelligence are not valued; in it, “the most happy people- ignoramuses, and fame is luck, and to achieve it, you just need to be clever.” This influenced the formation of Pechorin's personality. From a searching, rushing person, he turns into a devastated, disappointed, embittered one. He is "pretty indifferent to everything except himself." Even in his early youth, Pechorin tried to fight, but very soon he was left with “only fatigue and a vague memory, full of desires.” He does not find any useful activity. The environment, reality, situation interfere with him. Pechorin spends his energy on empty intrigues of the soul, all kinds of adventures. But his activities only lead to misfortune for the people around him. Pechorin himself understands that his actions are a waste of time. But he is a fighter, he is made for fighting, he craves action. “To be always on guard, to catch every glance, the meaning of every word, to guess intentions, to destroy conspiracies, to pretend to be deceived, and suddenly with one push to overturn the entire huge and difficult edifice of cunning and plans - this is what I call life,” says Pechorin. Undoubtedly, if Pechorin had lived in a different time, he would have become a decisive fighter for the reconstruction of society and would have been in the circles of the Decembrists. Pechorin himself speaks of the “high appointment” intended for him. But he lived in a time of inactivity. And from the inability to find use for his powers, Pechorin loses interest in life.

Pechorin is very close to Onegin. Pechorin can be called the Onegin of the 30s. Pechorin has grown significantly in comparison with Pushkin’s hero, his interests are broader, his mind is deeper, his thirst for activity is enormous. But he finds no use for his powers. Pechorin suffers from this impossibility. But he is not alone in his clash with society; such is the fate of many of his contemporaries. Lermontov, creating the image of Pechorin, repeatedly emphasized that the main character is no exception, that this is a typical image. In his preface to the novel, Lermontov wrote that “Pechorin is a typical phenomenon of our time.” This is the tragedy of the society of the 30s. And the poet protests against the social system of Nicholas Russia. He comes to the conclusion that it is necessary to destroy the conditions that transform talented people in the Pechorins.

The commonality of the problematic and the means of its artistic embodiment in the novel “Hero of Our Time” and the poem “Duma”

Indeed, problems and destinies younger generation occupied at one time by N.M. Karamzin (“Knight of Our Time”), V.F. Odoevsky (“ Strange man"), K.F. Ryleev (“Eccentric”) and many other writers. We see a detailed image of the “superfluous man” in Pushkin’s novel “Eugene Onegin”. However, it is in the works of M.Yu. Lermontov's generation of the thirties appears in all its versatility.
The most vivid and complete portrait of the hero of Lermontov’s era is depicted in the poem “Duma” and the novel “Hero of Our Time.”
Following the principle precisely formulated in the preface to the novel: “Bitter medicines, caustic truths are needed,” in “Duma” Lermontov exposes tragic contradictions generation, “slumbering in inaction” (Belinsky), pronounces an objective and harsh sentence on him:
“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 inactivity..."
The problems of purpose and meaning in life, the tragedy of the inaction of a strong personality, considered in the poem using the example of the entire generation, are personified in the novel in the image of Pechorin.
In both works, Lermontov clearly formulates and consistently develops the idea that the youth of the thirties was divorced from real life, prone to reflection, incapable of practical application their extraordinary strengths and abilities. “We have dried up the mind with fruitless science...”, the lyrical hero of the “thought” bitterly exclaims. Hence the “mosaic”, fragmented nature of Pechorin’s fate, the futility of Werner’s “philosophizing”, and the tragedy of Vulich.
The spiritual emptiness and contradiction of the Lermontov generation is also reflected in its doubt about the value of human relationships - love and friendship:
“Both we hate and we love by chance,
Without sacrificing anything, neither anger nor love,
And some secret cold reigns in the soul,
When fire boils in the blood.
Pechorin develops a similar thought in his diary, reflecting that “from the storm of life he brought out only a few ideas and not a single feeling.” Therefore, the hero “laughs at everything in the world, especially at feelings,” and he puts his freedom first in the value system.
Mental coldness, decline in moral strength and weakening of the will to live also give rise to a mockingly cynical attitude of the generation of the thirties towards its fate, its desire to “play with death.”
On the one hand, this active position of Pechorin, his attempt to actively resist Fate, to challenge Fate: an adventurous adventure in Taman, a duel with Grushnitsky, an episode with a drunken Cossack. On the other hand, the novel depicts Vulich’s passively detached position, his feeling of dissolution in his fate, his blind faith in predestination. This is poetically reflected in the Duma:
“And the luxurious amusements of our ancestors bore us,
Their conscientious childish depravity,
And we rush to the grave without happiness and without glory,
Looking back mockingly."
The main means of artistic embodiment of the problematics that united both Lermontov’s works are the rhythm and style of poetic narration in “Duma”.
Thus, the predominance of iambic hexameter, which conveys the intonation of the thoughts of the lyrical hero and the journalistic style, enhance the socio-philosophical orientation of the poem.
A similar role in the novel “A Hero of Our Time” is played by the author’s preface, which especially emphasizes the social orientation of Lermontov’s work: “A Hero of Our Time... is a portrait, but not of one person: it is a portrait made up of the vices of our entire generation, in their full development.”
One of the most striking means of expression author's position in revealing the general problems of the novel and the poem is the technique of contrast.
So in “Duma” we observe a constant clash of antonyms and the use of antithesis. And in “A Hero of Our Time” the technique of contrast is used both in constructing the entire system of images and to reveal the character of the main character.
So, the poem “Duma” and the novel “Hero of Our Time” are united by common moral, philosophical and socio-political issues. In both works, Lermontov reflects on the fate of the brightest representatives of progressive youth and explores the spiritual and social vices of his time.
The unique feature of Lermontov’s worldview was very precisely and succinctly formulated by Belinsky: ““Hero of Our Time” is a sad thought about our time...”

How can you explain the title of the novel?
Compare the poem “Duma” and the novel “Hero of Our Time”. What are the similarities and differences between the lyrical hero of “Duma” and Pechorin?
What is attractive about the main character of the novel and what causes condemnation?

What attracts people about Pechorin is, first of all, his originality, original character, a critical mindset, the ability to soberly evaluate not only others, but also one’s own actions, strength and independence, the ability to not take anything for granted. He has a broad outlook. Pechorin received a good education. He is undoubtedly superior to the environment with which he is forced to communicate, therefore he despises the world, sees its vulgarity, narrowness of interests, hypocrisy. Therefore, Grigory Alexandrovich remains a stranger in the “water society”, abandoning small prosperity for the sake of large, albeit unclear goals. These personality traits attract Pechorin.

He is repulsed by his coldness, individualism, selfishness, and unwillingness to take into account other people, in whom he often sees only a means to achieve his goals (his “romance” with Princess Mary). Rich nature Pechorin finds no use; he “seems in empty action,” playing with other people’s lives. Not only the era, but he himself is to blame for the fact that he turned out to be “ extra person"and brings misfortune to those with whom his life encounters.

For what purpose does Lermontov pit his hero against people belonging to different strata of society?
What is the simplicity and complexity of the novel's composition?

The author’s goal is to show his hero as deeply and comprehensively as possible. Hence the features of the composition: the absence of a single plot, “episodic fragmentation” of parts, violation chronological sequence in their location, the presence of three narrators in the novel: the author, Maxim Maksimych and Pechorin himself. First we learn about the hero from common man, not understanding it complex nature, — Maxim Maksimych (“Bela”); then the author takes the floor, who understands Pechorin much better (“Maksim Maksimych”); finally, the hero himself becomes the narrator (“Princess Mary”, “Taman”) - his confession dots all the i’s, for it is sincere and frank. Everything is complex and at the same time simple, logical, and explainable.

What is the role of portrait and landscape in the novel?
How do the heroines of the novel help reveal the image of Pechorin?
Compare Onegin and Pechorin. Why did each of them become an “extra person”?
Who is Pechorin closer to: Chatsky or Onegin? Why do you think so?
What assessment did Belinsky give to Pechorin?
From the history of work on “A Hero of Our Time” it is known that all the chapters that make up the novel were created as individual works, were not initially connected by a common plan. Researchers define the Taman genre as a novella or an essay-short story. Remember the genre features of a short story that distinguish it from a short story or story. Can “Taman” be considered a short story? Give a detailed answer.

The novella is distinguished by a sharp, often paradoxical plot, refined composition, and an unexpected denouement. “Taman” can rightfully be classified as a short story, since the mentioned features are present in it. So, for example, the beginning “Ta-man is the worst little town of all the coastal cities of Russia. I almost died of hunger there, and on top of that they wanted to drown me” is typical for the short story, since all its content is concentrated in it. The subsequent narration not only does not add anything new to the events outlined here, but one of them is even discarded (“I almost died of hunger”) in order to focus all attention on another (“they wanted to drown me”). . Quite unexpectedly, Pechorin, thanks to his curiosity, finds himself witnessing the strange activities of the owners of the house and decides to find a solution. And this curiosity of the hero led to a new, unexpected plot development of the short story. Pechorin's romantic relationship with the undine, the date in the boat, acquired a completely unexpected continuation for the reader. The girl tried to eliminate Pechorin as a witness to their smuggling activities. And the possibility of developing a love plot was completely excluded. The scene of the fight in the boat is particularly poignant and tense, characteristic of the novella.

Pechorin solved the mystery of the smugglers, but this solution made him sad - he ruined his life honest smugglers. The ending of the story also seems unexpected to us, but follows from the logic of the hero’s character. Actively and persistently trying to find out what Yanko, the undine, and the blind boy were doing, he suddenly lost interest in their lives and ended his notes with the phrase: “And what do I care about the joys and misfortunes of people, I, a wandering officer, and even from the road for official reasons!”

The most famous Russian linguist, academician V.V. Vinogradov, who was deeply involved in the study of language and style works of art, considered “Taman” to be a borderline genre of “robbery-nobody’s novella” and travel notes.

How do you evaluate behavior and personal qualities hero?

Pechorin is a contradictory person. He is brave, brave, creates a risk situation. He even flaunts his courage and faith in fate. In Taman, he found himself in the grip of an unconscious impulse and acted impulsively. He needed to reveal the secret of the smugglers, and at his own risk he goes into a direct conversation with the undine and even threatens to inform the city commandant. At the same time, he is not against starting a banal affair with a girl from the common people and acts trustingly and imprudently. The security measures he has taken turn out to be weak and ineffective. However, Pechorin himself understands that his role in the lives of the people he meets mostly negative. The life around him in Tamani seems boring and uninteresting to him, and he begins to spin a dangerous game in order to make this life brighter and more interesting. However, his intentions and actions - and he himself understands this - in their results turn out to be petty and insignificant. This is the essence of the contradictions in the character of the intelligent, ironic, gifted, strong-willed, courageous and risky officer Grigory Aleksandrovich Pechorin.

Can Pechorin be accused of ruining the lives of “honest smugglers”?

He himself made this conclusion after he heard the scene of Yanko’s farewell to the blind boy. The blind man, left without a livelihood, cried, the fate of the abandoned old woman was sad, he must look for new ways to earn a living Yanko.

The work “A Hero of Our Time” is considered in literary studies to be a realistic socio-psychological novel. Can this statement be entirely attributed to the short story “Taman”? What socio-psychological problems are raised in it?

"Taman" in to a greater extent is a short story that combines romantic and realistic principles. One of the leading socio-psychological problems of the entire novel, and “Tamani” in particular, is the problem of a person’s moral responsibility for his actions and choices life path, for your destiny. Another problem of the novella is the life of a “natural” person and the contradiction between the world of “natural people”, in in this case- smugglers, and people of the civilized world, whom Pechorin represents. The struggle of these two principles in a person is also manifested in Pechorin’s behavior, constituting his internal contradictions.

Find paintings and scenes of romantic and realistic plans in the text. How are they related to each other?

In “Taman” the romantic and realistic elements of the novel collide: the extraordinary beauty and charm of subtle romantic coloring and realism, expressed in impeccable life-like verisimilitude. Thus, Pechorin from the very beginning understands the recklessness of the relationships he enters into with the smugglers and the undine. But this is the strangeness of Pechorin, that, despite his inherent common sense, he does not completely obey it, he goes beyond the bounds of everyday prudence. Despite the prosaic impressions he received from the story of the undine, still for him, like Lermontov himself, real world smugglers retain a certain romantic aura as an image of a free life, full of anxiety and battles.

The seascape and the beginning of the date in the boat are depicted in a romantic vein. However, the struggle between Pechorin and the undine already represents a realistic scene with rough details (he grabbed his braid with one hand, and the throat with the other). We find a combination of the romantic and realistic in the scene of Pechorin’s invitation to a night date. The quiet and silent gaze fixed on him suddenly seemed wonderfully tender to him; in his old years such glances played with his life. Her face is drawn in the style of romantic tales of that time, but the hero was already perceived as a comedy, which began to bore him. The stage of perception of the romantic in Pechorin’s life, it must be understood, has already passed. But as soon as the undine hugged him and kissed him passionately, the romantic once again returned to the hero “with all the power of youthful passion.” This picture represents the culmination of the clash of romanticism and realism within the novel. And Pechorin constantly rushes between these two worlds.

The short story also contains purely realistic images designed to create the social and everyday background of the story. This is a police officer, a foreman, an orderly. The latter appears at the most intense, romantic moments in order, as B.T. Udodov rightly says, to contain the narrative with his earthly, real appearance and prevent it from straying into open romance. With his slowness and passivity, he sets off Pechorin’s restless nature. Let us remember how the orderly “fulfilled” Pechorin’s order given to him before leaving for a date with the undine.

Observe how the real and the romantic are combined in the depiction of a smuggler girl (undine).Material from the site
IN literary portrait Lermontov combines detailed description the character’s appearance with his individual psychological characteristics, which gives special life authenticity, persuasiveness and depth. A portrait of an undine is also created using this principle. At first, something romantic stands out in her appearance. “I have definitely never seen such a woman,” Pechorin begins his description elatedly. Then he gradually begins to reduce the romantic principle and fill the portrait with realistic details, even with the help of a very prosaic comparison: “She was far from beautiful, but I also have my own prejudices about beauty. There was a lot of breed in her... breed in women, as in horses, is a great thing... She... for the most part is revealed in her steps, in her hands and feet; especially the nose means a lot. A correct nose in Russia is less common than a small leg.” The character of the girl (why Pechorin perceives her so differently) is built on an unexpected change of actions, moods, and contrasts. She is as changeable and elusive as her life, free, full of surprises, which has its own romantic depths and prosaic concerns.
The preface to the novel states that the hero is “a portrait made up of the vices of our entire generation, in their full development.” What typical traits for the entire generation are shown in Pechorin’s behavior and personality in the short story “Ta-man”?

Contradictory nature, thirst for unusual impressions, rich mental and physical capabilities, willpower, etc., used to achieve unimportant goals, a frivolous attitude towards love.

Describe the features of the language in which the novella is written.

The combination of romantic and realistic principles in the short story was also manifested in its language. The sedate and bitterly ironic beginning and end of the story give way to emotionally expressive speech in pictures and scenes of a romantic nature. In this case, Lermontov resorts to inversion, placing epithets after the defined words. There is also some parodic use of romantic vocabulary, especially when Pechorin suddenly perceives the girl’s behavior as a comedy (quivering conversation of the eyes, dull pallor, etc.).

Conveying the dynamism of scenes is achieved by combining an abundance of verb forms. In the same scene of an invitation to a date at sea: it jumped up, wrapped itself around, sounded, darkened, spun, squeezed, slid - a whole storm of feelings, sensations, fragmentary thoughts. And then the prose of life is affirmed by the popular remark of the batman: “What a devil girl!”

Didn't find what you were looking for? Use the search

On this page there is material on the following topics: