What is the tragedy of Pechorin’s existence? Is Pechorin a tragic hero? Is Pechorin responsible for his tragic fate?

Pechorin's tragedy

The novel "A Hero of Our Time" was written in 1837-1840 during the era of government reaction, when every free thought and every living feeling was suppressed. This was a transitional era after the collapse of the ideas of Decembrism, when the ideals of the past were destroyed, and new ideals had not yet had time to form. The post-Decembrist decade was a difficult period in Russian life. People were overcome by deep despair and general despondency.

This dark decade gave birth to a new type of people - disillusioned skeptics, "suffering egoists", devastated by the purposelessness of life. Through the prism of such ideas, inspired by Lermontov’s era, the tragedy of Pechorin, “the hero of our time,” is depicted.

The central problem of the novel is the problem of the personality of the protagonist. The fate of one person worried the author because it was a reflection of the fate of many. Drawing the main character of the novel, he created a portrait composed “of the vices of the entire ... generation, in their full development.”

Lermontov posed the question of why exactly such heroes appeared in those years, why their lives were joyless, and who was to blame for the tragic fate of an entire generation. The author reveals this main theme of the novel by deeply and comprehensively exploring the life, actions, and character of the main character of the novel.

The relevance of the topic I have chosen lies in the fact that by understanding the tragedy of Pechorin, we will be able to understand the sad fate of an entire generation. We will also be able to more deeply and fully perceive and feel the lyrics and other works of Mikhail Yuryevich Lermontov dedicated to this topic. At the same time, Lermontov’s hero can teach us a lot; by reading about Pechorin, we learn to appreciate the fullness of life.

The purpose of my work is to answer the question: why is it that a thinking person, who feels “immense powers in his soul,” could not find his way and place in this world and is forced to spend an empty, aimless life, burdened by it.

To achieve the goal, the essay sets the following task: to deeply and comprehensively explore the life, character, and actions of the main character of the novel.

Features of the composition and plot of the novel

The novel consists of five parts, five stories, each with its own genre, its own plot and its own title. But the main character combines all these stories into a single novel.

Moving from chapter to chapter, we gradually get to know the hero; the author makes us think about his mysteries and the reasons for the “great oddities” of his character. We find the key to them by putting together the whole puzzle of Pechorin’s life story.

For the same purpose - to reveal the character’s inner world as deeply as possible, the main character is shown to us from the point of view of three people.

In each story, Lermontov places Pechorin in a different environment, shows him in different circumstances, in clashes with people of different social status and mental makeup.

Each time Pechorin reveals himself to the reader from a new side, discovering new and new facets of his character.

Pechorin's tragedy

Who is Grigory Aleksandrovich Pechorin? He is a strong-willed nature, thirsty for activity. The natural talent of the main character, expressed in his deep intelligence, strong passions and steely will, is strikingly striking to the readers of the novel. But for all his talent and wealth of spiritual powers, he, according to his own fair definition, is a “moral cripple.” His character and all his behavior are extremely contradictory.

It is revealed in the novel in its entirety, revealing, according to Lermontov’s definition, the “disease” of the generation of that time. “My whole life,” Pechorin himself points out, “was only a chain of sad and unsuccessful contradictions to my heart or mind.” How do they manifest themselves?

Firstly, in his attitude to life. On the one hand, Pechorin is a skeptic, a disappointed person who lives “out of curiosity”; on the other hand, he has a huge thirst for life and activity.

Secondly, rationality struggles with the demands of feelings, mind and heart.

The contradictions in Pechorin’s nature are also reflected in his attitude towards women. He himself explains his attention to women and the desire to achieve their love by the need of his ambition. But Pechorin didn’t

such a heartless egoist. His heart is capable of feeling deeply and strongly, and his attitude towards Faith tells us this.

He deceives himself, because in fact he is young, he can do everything: love and be loved, but he himself gives up hope, joys, convincing himself that they are impossible for him. These inconsistencies do not allow Pechorin to live a full life.

The origins of Pechorin's individualism

Pechorin's individualism was formed in a transitional era - in an era of the absence of social ideals: and life devoid of high goals is meaningless. The main character realizes this. Not striving for wealth, honors, or a career, he openly despises the world and, having come into conflict with his environment, becomes “superfluous,” because he is a person in the conditions of the impersonal Nikolaev reality.

Pechorin feels superior to his environment. A disgust is brewing in his soul for these people among whom he is forced to live. But at the same time, he is formed by this very environment. Two elements exist in it at the same time - the natural, natural and the social, distorting it, and the natural principle in Pechorin encounters a social limit everywhere.

“Pechorin's Journal” reveals the tragedy of a gifted person who strived for active action, but was doomed to forced inaction. In his confession, he explains it all this way: “Everyone read on my face signs of bad qualities that were not there; but they were anticipated - and they were born. I was modest - I was accused of guile: I became secretive..."

This confession sounds not only reproach, condemnation of secular society, which insults a person in his best feelings and motives, likens him to himself, makes him envious, hypocritical, but also self-condemnation and pain for the ruined better half of the soul.

Life positions and moral principles

Having lost faith in life, Pechorin tries to develop a position in life, formalize the principles of relationships with people, substantiate his system of views, taking into account the peculiarity that lies in his “immense forces” that require action.

But what to do if life does not provide the opportunity to realize this energy and strength? In this situation, Pechorin's normal state is boredom. Even under Chechen bullets, Pechorin never ceases to be bored: in the world, in the Caucasus, the protagonist is tormented and tormented by the emptiness of life, but none of his attachments saves Pechorin from boredom and loneliness.

Why? The main value for Pechorin is personal freedom. However, human freedom from society, an absolutely impossible thing in itself, turns out to be different. The personality is fenced off not only from the official world that it hates, but also from reality in general.

Happiness, according to Pechorin, is “saturated pride”: “If I considered myself better, more powerful than everyone else in the world, I would be happy, if everyone loved me, I would find endless sources of love in myself.”

It is impossible to agree with this statement by Pechorin. Why should a person be “the cause of suffering and joy” of someone who is dear to him? We would not be able to comprehend this at all if we did not understand that he was destitute. Fate has given him so little activity and expenditure of mental energy that even a small game with Princess Mary pleases his vanity and creates the illusion of a meaningful life.

Pechorin wants to first receive from people, and then give to them. Even in love.

Pechorin is also incapable of making friends. Doctor Werner and Maxim Maksimych are sincerely attached to him, but Pechorin, no matter how much he would like, cannot call these people his friends. He is convinced that “of two friends, one is always the slave of the other.” Pechorin evokes pity for himself, because having such ideas about friendship, he will never be able to feel the joy of mutual assistance and understanding.

Pechorin, with his own life, refutes his own thesis that “happiness is intense pride.” Selfishness, individualism, indifference are not innate qualities, but a kind of moral code, a system of beliefs from which Pechorin never deviated in his life.

Character traits

Characteristics are aggravated by the pain of disappointment, constant, hopeless loneliness. The awareness of a life lived in vain gives rise to indifference to it, as a result of which an internal crisis, pessimism, and even death do not frighten the main character.

This indifference to death pushes the main character to try his luck, enter into confrontation with it, and this time emerge victorious. The story “Fatalist” brings together Pechorin’s spiritual quest; it synthesizes his thoughts on personal will and the meaning of circumstances independent of man. It also reveals the titanic capabilities of the protagonist for feats. The hero experiences trust in fate for the first and last time, and fate not only spares him, but also elevates him.

Action and struggle, resistance to unfavorable circumstances, and not blind submission to fate - this is the hero’s life credo. And Pechorin’s physical death turns into his spiritual immortality: he is directed forward in search of the true meaning of life.

Who is guilty?

The tragedy, according to Belinsky’s definition, “between the depth of nature and the pitifulness of actions,” the freedom-loving ideas adopted by people of the Pechorin type in their early youth from the Decembrists, made them irreconcilable with the surrounding reality. The Nikolaev reaction deprived these people of the opportunity to act in the spirit of these ideas and even called them into question. And the ugliness of their upbringing and life in a secular society did not allow them to rise to moral standards.

Lermontov clearly points out the reason that made Pechorin and other thinking people of that time unhappy. He saw it in “insignificant disputes over a piece of land or for some fictitious rights,” in quarrels that divided people into masters and slaves, into oppressors and the oppressed.

Lermontov shifts part of the blame onto society, but at the same time does not relieve responsibility from the main character. He pointed to the disease of the century, the treatment of which is to overcome individualization generated by timelessness, bringing deep suffering to Pechorin himself and destructive to those around him.

Roman Lermontov Pechorin

Conclusion

The story of Grigory Aleksandrovich Pechorin is the story of the futile attempts of an extraordinary person to realize himself, to find at least some satisfaction to his needs, attempts that invariably turn into suffering and losses for him and those around him, the story of his loss of powerful vitality and an absurd death from having nothing to do, from his uselessness to anyone and to yourself.

With his own life, he refuted his own thesis that “happiness is intense pride.”

Well, truth is an expensive thing. Sometimes they pay for it with their lives. But on the other hand, every life that was a real search for this truth forever enters into the spiritual experience of humanity.

That is why Pechorin is always needed and dear to us. Reading Lermontov's novel, we begin to realize things that are very important for us today. We come to understand that individualism contradicts the living nature of man, its actual needs; that cruelty, indifference, the inability to act and work - all this is a heavy burden for a person. It turns out that it is human nature to strive for goodness, truth, beauty, and action. Pechorin did not have the opportunity to fulfill his aspirations, so he is unhappy. Nowadays, people control their own destinies; it is up to us to make our lives full or empty. Reading Lermontov's novel, we learn to appreciate the fullness of life.

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The novel “A Hero of Our Time,” authored by M.Yu. Lermontov, in 1840 became the first psychological novel in Russian literature. Throughout the novel, the personality of the main character, Grigory Pechorin, is revealed. Lermontov describes in detail the psychological portrait of the main character and reveals his complex character, placing him in different life circumstances. But can Pechorin be called a tragic hero?

Grigory Pechorin strives to know other people and himself.

He conducts experiments on people and on himself, he participates in them, analyzes people’s actions, but this prevents him from surrendering to sincere feelings, since the mind keeps these feelings under control (“I have long lived not with my heart, but with my head”). For example, Pechorin, when he chased Vera and could not catch up with her because of the horse, he fell and cried, because the shocks of the duel that happened before, the frenzied galloping brought him to such a state when his mind stopped controlling his feelings (“Soul” I became weak and my mind became silent." But very quickly his habit of analyzing everything returned (“I’m pleased, however, that I can cry!”).

Pechorin is lonely. His nature is so deep that he cannot find his equal. He is unhappy in friendship. He did not perceive Maxim Maksimych as a friend, because he was a simple person and could never fully understand him. When he met Werner, he enjoyed spending time with him and even offered him to be a second in a duel with Grushnitsky, but Werner accused him of murder and shifted all the blame onto Gregory. Pechorin exclaims bitterly: “They are all like that, even the kindest, the smartest!..”).

Pechorin is also unhappy in love. Although he was attached to Vera, this was not the woman for whom he would agree to lose his freedom. He didn't love Mary. Seeing Bela, he sincerely thought that he would finally gain the meaning of life, but very soon he became bored with her, because she was uneducated (“I was wrong again: the love of a savage is little better than the love of a noble lady”).

Pechorin cannot find his purpose.

He is also unhappy because he perceives himself as the ax of fate, which falls on the “head of the doomed victims.” He himself suffers from this.

Thus, Pechorin is a tragic hero because he is lonely, unhappy in friendship and love, lives by reason and not by feelings, and has not found his purpose, the meaning of life. The feeling that he is not only above other people, but also above fate and chance still does not make him happy. The reader learns midway through the novel that he died somewhere along the way from Persia. We understand that Pechorin never found happiness in this life.

Updated: 2019-07-22

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Is Pechorin a tragic hero?

Pechorin Grigory Alexandrovich, the main character of the work, appears in all five parts of the novel. Maxim Maksimych, in a fatherly manner, talks about his subordinate: “... He was so thin, white, his uniform was so brand new.” The kind Maxim Maksimych sees contradictions in Pechorin’s behavior: “...He was a nice little guy, only a little strange - sometimes he was silent for hours, sometimes he made people laugh in such a way that “you’ll tear your tummies.” The staff captain is sure that there are people with whom \g.\lo certainly agree with. By extraordinary things must happen to them.

A more detailed portrait (psychological) is revealed in the psychological story “Maksim Maksimych” through the eyes of the narrator: “His personality was lazy and careless, but... he didn’t wave his arms -

a sure sign of some secrecy of character. Despite the light color of his hair, his mustache and eyebrows were black - a sign of the breed in a person.”

It is obvious that Lermontov's Pechorin belongs to the disillusioned young people of that era. He continues the gallery of “EXTRA PEOPLE”. His bright abilities and powers do not find worthy use and are wasted on fleeting hobbies and senseless and sometimes cruel experiments on others. Already at the beginning of the novel, the hero’s self-confidence sounds: “My soul is spoiled by light, my imagination is restless, my heart is insatiable: everything is not enough for me: I get used to sadness as easily as to pleasure, and my life becomes emptier by the day...” The best features Maxim Maksimych, the “Russian Caucasian” of Yermolov’s hole, is highlighted by the moral anomalies of Pechorin’s nature with its inner coldness and spiritual passion, genuine interest in people and selfish self-will. Pechorin admits: “...I have an unhappy character: whether my upbringing made me this way, whether God rewarded me this way, I don’t know; I only know this. that if I am the cause of the misfortune of others, then I myself am no less unhappy.” The confession of the main character reveals internal motives of spiritual melancholy and boredom; the hero is not able to find happiness in achieving life goals, since upon achieving them he immediately loses interest in the result of his efforts. The causes of this moral illness are partly related to the “corruption of the world,” which corrupts young souls, and partly to the premature “old age of the soul.”

In his journal, Pechorin analyzes the external and internal events of his life. His sober introspection, clear understanding of himself and other people - all this emphasizes the strength of character, his earthly, multi-passionate nature, doomed to loneliness and suffering, a tireless struggle with his unhappy fate.

Pechorin is a wonderful actor, deceiving everyone and partly himself. There is both the player’s passion and tragic protest, the desire to take revenge on people for their grievances and suffering invisible to the world, for a failed life.

“Pechorin’s soul is not rocky soil, but earth dried up from the heat of fiery life...” notes V.G. Belinsky. Pechorin did not bring happiness to anyone, he did not find a friend in life (“of two friends, one is the slave of the other”), nor love, nor his place - only loneliness, unbelief, skepticism, fear of seeming funny in the eyes of society.

He “drives madly out.” life,” but finds only boredom, and this is the tragedy not only of Pechorin, but of his entire generation.

What is the contradictory character of Pechorin?

“A Hero of Our Time” is the first major social-psychological novel in Russian literature. The main problem of the novel “A Hero of Our Time” is defined by M.Yu. Lermontov in the preface; he paints “a modern man as he understands him,” the hero is not a portrait of one person, but “a portrait made up of the vices of our entire generation.” In the image of Pechorin, the fundamental features of the post-Decembrist era were given expression, in which, according to Herzen, on the surface “ONLY losses were visible,” but inside “great work was being accomplished... deaf and silent, but working and continuous.”

Pechorin himself, reflecting on his life, finds in it much in common with the fate of an entire generation: “We are no longer capable of great sacrifices, either for the good of humanity, or even for our own happiness, because we know its impossibility and indifferently pass from doubt to doubt "

Pechorin, like an evil ray, brings suffering to everyone who crosses his path: Bela and her loved ones, the family of “honest smugglers.” Mary, Grushnitsky. At the same time, he is the strictest judge of himself. He calls himself a “moral cripple” and more than once compares himself to an executioner. No one understands better than Pechorin how empty and meaningless his life is. Remembering the past before the duel, HE cannot answer the question: “Why did I live? For what purpose was I born? Life torments Pechorin: “I am like a man yawning at a ball, who does not go to bed only because his carriage has not arrived yet.” But still, Pechorin’s living soul manifests itself even in the shocked:!! the death of Bela, in tears of despair, when he realized that he had forever lost Faith in the capable! and about I giving in to the charm of nature even before a duel, in the ability to look at myself from the outside.

In Mary's confession, Pechorin accuses society of becoming a “moral cripple.” Pechorin repeatedly talks about his duality, about the contradiction between his human essence and existence. He admits to Doctor Vsrnsr: “There are two people in me: one lives in the full sense of the word, the other thinks

lit and judges him...” To live for Pechorin, and this is precisely the function of the first person - “to be always on the alert, 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 everything huge and difficult a building of tricks and plans..."

Pechorin differs from the rest of the characters in the novel because he is gay, because he is concerned about questions of conscious human existence - about the purpose and meaning of human life, about his purpose. He's worried. THAT its only purpose is to destroy other people's hopes.

What is most important for Pechorin: honor, duty, conscience, freedom?

Roman M.Yu. Lermontov's “Hero of Our Time” - psycholo! a-chesky novel.

At its center is the “history of the soul” of an extraordinary personality of the early 19th century.

The imprint of fate was in Pechorin’s soul, and he knew his fate) Pechorin strove for his death and knew how he would die. For a person who thinks so much about himself, I think it will be more important to sow freedom. He is ready to put his honor and conscience on the line for the sake of freedom.

Pechorin didn’t have a home at all; he didn’t want to tie himself to anything. Pechorin was, in my OPINION, an ideal person, cold and strong. This man caused pain without remorse. with pleasure and gusto. The literary prototype of Pechorin was the Demon, who despised everything. life itself. So. for the hero of our time, the goal of life was to “repress” from life all possible feelings and experiences that a person could feel. But standing in ONE place, how could he accomplish this? No!

Lermontov wrote in the preface that Pechorin is not a portrait of the author. But. I think it was just a hoax. In Article Vl. Solovyov, where the philosopher describes Lermontov’s inner world, there are lines very similar to Pechorin’s diary entry: “I feel in myself this insatiable greed, absorbing everything. what is found in nougat: I look at the sufferings and joys of others only in relation to myself, as food that supports my spiritual strength. . and my first pleasure is to subordinate to my will everything that surrounds me.”

This is why the hero of our time needs freedom!

The determining factor in the novel, in my opinion, is the motive of Fate. This is confirmed by constant accidents. Fate guides the hero. Fate and chance are controlled by God, who sent the soul in the image of Pechorin so that it could decide, make a choice. Here is the answer to the question: a soul like that of Pechorin and Lermontov cannot tie itself to the earth and decides throughout its life who it is. I. in my opinion, Pechorin decided who he was: the Demon, Mephistopheles and the Devil, eternal from the grave. lonely, but free.

I agree with Pechorin’s point of view: the main thing for a person is not duty, not honor, or even conscience, but freedom, without which one cannot serve one’s duty, take care of one’s honor and act according to one’s conscience.

Which cell does Pechorin start a love affair with?

With Princess Mary? (but the novel by M.Yu. Lermontov

"Hero of our time")

In the novel “Hero of Our Time,” Lermontov set the task of comprehensively and multifacetedly revealing the personality of his contemporary, showing a portrait of a “hero of the time,” “composed of the vices” of the entire generation “in their full development,” as the author said in the preface to the novel. All plot lines are reduced to a central image, but a special role is played by the love affair, which is present in almost every part of the novel. After all, one of the main features of the “hero of the times” is “premature old age of the soul,” in which “... some kind of secret cold reigns in the soul, / When fire boils in the blood.”

The story is about that. how Pechorin achieves the favor and love of Princess Mary, shows the secret motives of the actions of the hero, who always strives to rule in everything, while maintaining his own freedom. He makes people toys in his hands, forcing them to play by his own rules. And as a result, broken hearts, suffering and death of those who met on his way. He is truly like “the executioner in the fifth act of a tragedy.” This is precisely his role in Mary’s fate.

A girl who, like Pechorin, belongs to high society, Princess Mary has absorbed much of the morals and customs of her environment since childhood. She is beautiful, proud, unapproachable, but at the same time she loves worship and attention to herself. Sometimes she seems spoiled and

capricious, and therefore the plan developed by Pechorin to “seduce” her does not at first evoke strong condemnation from the reader.

But we also notice other qualities of Mary, hiding behind the appearance of a social beauty. She is attentive to Grushitsky. whom he considers a poor, suffering young man, cannot stand the ostentatious boasting and vulgarity of the officers who make up the “water society.” Princess Mary shows a strong character when Pechorin begins to carry out his “plan” to win her heart. But the trouble is, Pechorin admits that he does not like “women with character.” He does everything. to break them, conquer and subjugate them. AND, To unfortunately. Mary fell victim to it, like the others. Is she guilty of this?

In order to understand THIS, you need to look at what Pechorin “plays” to win her favor. The key scene is Pechorin's conversation with Mary on a walk near the sinkhole. “Taking on a deeply moved look,” the hero “confesses” to the inexperienced girl. He tells her about how the dog saw his vices from childhood, and as a result he became a “moral cripple.” Of course, there is a particle of truth in THESE words. But Pechorin’s main task is to evoke the girl’s sympathy. Indeed, her kind soul was touched by this story, and as a result she fell in love with Pechorin for his “disappearances.” And THIS feeling turned out to be deep and serious, without the edge of coquetry and narcissism. And Pechorin achieved his goal: “...After all, there is immense pleasure in possessing a young, barely blossoming soul!” - the hero remarks cynically. Once again he showed the most negative traits of his character: selfishness, heartlessness And spiritual coldness, desire for power over people.

The last scene of the explanation between Pechorin and Mary evokes keen sympathy for the unfortunate girl. Even Pechorin himself “began to feel it.” The verdict is merciless, the cards are revealed: the hero announces that he laughed at her. And the princess can only suffer and hate him. and for the reader to reflect on how cruel a person can be, consumed by selfishness and the desire to achieve his goals, no matter what.

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

Lermontov’s novel “A Hero of Our Time” is rightly called Be only socio-psychological, but also moral

philosophical. The question of free will and predestination, the rage of fate in the second life of man is considered in one way or another in all parts of the novel. No detailed description of it is given only in the final part - the philosophical story “Fatalist”, in which the story plays the role of a kind of epilogue.

A fatalist is a person who believes in the predetermination of all events in life, in the inevitability of fate, fate, fate. In the spirit of his time, which reconsiders the fundamental questions of human existence, Pechorin tries to decide whether the purpose of man is predetermined by the highest will or whether he himself determines the laws of life and follow them,

As the action of the story develops, Pechorin receives triple confirmation of the existence of a preeminent estate and destiny. Officer Vulich. with whom the hero makes a risky bet, was unable to shoot himself, although the gun was loaded. Chatham Vulich still dies at the hands of a drunken Cossack, and in THIS Pechorin does not shush the nipple, since even during the dispute he marked the “seal of death” on his line. And finally, Pechorin himself tests fate, deciding to disarm the drunken Cossack, the murderer of Vulich. “...A strange thought flashed through my head: like Vulich. “I decided to try my luck,” says Pechorin.

What is the answer of the “hero of the time,” and with him the writer himself, to this most difficult question? Pechorin’s conclusion sounds like this: “I like to doubt everything: this disposition of mind does not interfere with the decisiveness of character: on the contrary, as for me, I always move forward more boldly when I don’t know what awaits me.” As we see, the failed fatalist turned into his own the opposite. If he is ready to admit that predestination exists, then it is not at all to the detriment of the activity of human behavior: to be just a toy in the hands of fate, according to Pechorin, is humiliating.

Lermontov gives exactly this interpretation of the problem, without unequivocally answering the question that tormented the philosophers of that time. It seems that in the story that concludes the novel there is no solution to the problem of the judge. But by showing that the hero, who expresses thoughts about the possibility and existence of predestination, in all situations prefers to act as a person endowed with free will, Lermontov, in fact, shows the path to a solution.

Why is “Dead Souls” a poem?

The author himself defined the genre of his work as a poem, thereby emphasizing the equality of the epic and lyrical principles 1 in “The Dead i\i The epic and lyrical parts differ in the goals that the author sets. The task of the epic part is to show “albeit on one side Rus'.”

The main means of depicting Russian life in the poem is detail. With its help, Gogol shows the typicality of the provincial holy fool, who “was not inferior to other provincial holy fools,” a landscape representing “well-known species.” I point out such techniques! on a realistic method of creating thunder reference.

In addition, the detail also acts as a means of individualization. Sobakevich looks like a “medium ham bear,” and his tailcoat is “completely copper-colored.”

In the epic, the writer is especially attentive to the world of things (a feature of the “natural school”!: things are created, but the reverse process also occurs; man becomes the likeness of a thing.

In the lyrical part, the positive ideal of the author arises, which is revealed through lyrical digressions about Russia, linking together the themes of the road, the Russian people and the Russian word (“Oh, loud” bird-three, who invented it? Isn’t it you too. Russia, what a lively Are you rushing ahead of the troika?”).

Such oppositions (epic and lyrical) are reflected in the language of the poem. The language of lyrical digressions is characterized by a high style, the use of metaphors, metaphorical epithets (“piercing finger”), hyperbole, rhetorical questions (“What kind of Russian doesn’t like driving fast?”), exclamations, repetitions, gradations.

The language of the epic part is simple, colloquial. Vernaculars are widely used. PROVERBS. The main means of creating and characterizing characters is irony.

Based on the issues raised by Gogol, “Dead Souls” is called the “Russian Odyssey.” The novel's beginning, unrelated episodes that are united by the hero's adventures, the cross-cutting theme of the road, broad social pressures that end in the poem, the presence of inserted memories (the short story "The Tale of Captain Kopsykin" and the parables of Kif Mokievichs and Mokni Kifovich) - all this indicates on the epic side of the work.

The presence of a huge number of lyrical digressions depicting the positive ideal of the author, the presence of the author himself, expressing his attitude to what is happening, discussing philosophical topics, touching on the topics of writing, the poetic language of these digressions - this characterizes the work as a poem. Thus, before the reader is an original work of an unusual genre - the poem “Dead Souls”.

Why N.V. Gogol uses precisely

artistic detail

as the main means of psychologism?

Detailing is a special artistic technique that is necessary to create the most complete image. Through a detail you can show some comic situation, indicate something typical in heroes or. on the contrary, emphasize individual traits. The technique of detailing is used, as a rule, in epic works.

N.V. Gogol is a recognized master of detail. Not only the large-scale poem “Dead Souls” is filled with details, but also the dramatic work - the comedy “The Inspector General”. The most striking example of this is the silent scene. In it, the author, reminding both the heroes and the audience about the Last Judgment, describes in detail the poses in which the heroes freeze. So. for example, the mayor stops with me “in the middle in the form of a pillar, with outstretched arms and head thrown back.”

The technique of detailing is sometimes used to create a comic effect. At the end of the 1st act, the mayor tries to put on a box instead of a hat, which shows his excitement and fear of Khlestakov, whom all the officials of the district town mistook for an auditor.

Khlestakov, in the climactic scene of a lie, talks about a soup that “came straight from Paris on the boat,” and a watermelon on his table, “a seven-hundred-ruble watermelon.” A detail can act not only as a means of individualization, but also as a means of typification. So. for example, preparing for a meeting with the “auditor”, the mayor, having gathered officials, gives instructions to everyone. He knows what is going on in every department: in charitable institutions, patients “recover like flies”, walk around in dirty caps, goslings walk in Lyaikin-Tyapkin’s public place, and in the most visible place hangs an arapix. These details perfectly characterize not only the characters, but also the city, all of Russia

The plot of the poem “Dead Souls” is filled with descriptions, both epic and lyrical digressions. In the chapters devoted to Chichikov’s visits to landowners, one can highlight their own microplot.

First, Chichikov enters the estate, he is greeted by the landowner (here is a description of the estate, a portrait of the landowner, the interior, the author describes the treat in detail), the climax is Chichikov’s conversation with the landowner about the sale of dead souls. then the departure of the main character. And in each of these descriptions Gogol uses many details. For example, characterizing Plyushkin, calling him “a hole in humanity,” he points out that the house of the former zealous owner looked like a gigantic castle, which spoke of former wealth, but now the home resembled a decrepit disabled person. The streets in the village were very clean, but not because the peasants cleaned them, but because of it. that Plyushkin himself went out in the morning on a kind of hunt: he dragged everything into the house. what I found on the street.

Describing Manilov, the first landowner to whom Chichikov came, the author uses such a portrait detail as “too much sugar” in the pleasant features of his face. Interior details (a chair covered with matting, two different candlesticks), object details (a book placed on page 14, neat pyramids of ash knocked out of a pipe) - all this helps to create the image and characterize this character.

The detail is vital for Gogol's work. F>ei there is no Gogol with his delicious dinners, colorful landscapes, bright portraits, memorable speech characteristics.

Is it possible to agree with A. Bely’s statement that

that “Chichikov is a real devil”?

(based on N.V. Gogol’s poem “Dead Souls”)

Once upon a time, the philosopher Hegel rightly noted that a work of art is a dialogue with everyone standing in front of it. Maybe. precisely because Oh Disputes often arise about the meaning of a particular literary work, about its characters. Symbolist poet Andrei Bely, who once wrote an interesting work about the work of Go-go. I saw a terrible, mystical meaning in the image of Chichikov. I think. THAT one can make arguments both for and against such a point of view, depending on how one interprets this controversial literary image.

On the one hand, Chichikov is a special type of Russian person,
a kind of “hero of the time”, whose soul is “enchanted by wealth”
vom." “Scoundrel-acquirer”, in pursuit of capital he loses
understanding of conscience, decency. The thirst for profit killed him too

the best human feelings, left no room for the “living” soul.

she tweeted, On the other hand, this hero, like a real devil, is merciless and terrible, when he strives to achieve his goal with unbridled energy, he is both watchful and cunning, he knows how to turn the weaknesses and vices of people to his advantage.

Until the 11th chapter, where Chichikov’s biography is given, his character is not fully defined. After all, with every new person he meets on his way, he looks different: with young Mani - sheer politeness and complacency, with Ozdrev an adventurer, with Sobakevich - a zealous owner. He knows how to find an approach to everyone and selects the right elephant for everyone. As a “true devil,” Chichikov has the ability to penetrate the most secret corners of people’s minds. i but he needs it to successfully complete his terrible “business” - buying “dead carcasses”. That is why something devilish is sometimes visible in Chichikov’s appearance: psi. the hunt for dead souls is a primordial activity of the devil. It is not without reason that city gossip, among other things, calls him the Lord, and in the behavior of officials one can see something apocalyptic, which is reinforced by the picture of the death of the prosecutor.

But let us remember Gogol’s unrealized plan, according to which from the first volume, which embodies the “Hell” of Russian action,

School essay

The main theme of the novel "A Hero of Our Time" is the depiction of the socially typical personality of the noble circle after the defeat of the Decembrists. The main idea is the condemnation of this individual and the social environment that gave birth to him. Pechorin is the central figure of the novel, its driving force. He is Onegin's successor - "an extra man." He is a romantic in character and behavior, by nature a person of exceptional abilities, outstanding intelligence and strong will.

Lermontov paints a portrait of Pechorin with psychological depth. Phosphorically dazzling, but cold shine of the eyes, a penetrating and heavy gaze, a noble forehead with traces of intersecting wrinkles, pale, thin fingers, nervous relaxation of the body - all these external features of the portrait testify to the psychological complexity, intellectual talent and strong-willed, evil power of Pechorin. In his “indifferently calm” look “there was no reflection of the heat of the soul,” Pechorin was indifferent “to himself and others,” disappointed and internally devastated.

He was characterized by the highest aspirations for social activities and a passionate desire for freedom: “I am ready for all sacrifices... but I will not sell my freedom.” Pechorin rises above the people of his environment with his versatile education, wide awareness of literature, science, and philosophy. He sees the inability of his generation “to make great sacrifices for the good of humanity” as a sad shortcoming. Pechorin hates and despises the aristocracy, therefore he becomes close to Werner and Maxim Maksimych, and does not hide his sympathy for the oppressed.

But Pechorin’s good aspirations did not develop. The unrestrained socio-political reaction, which stifled all living things, and the spiritual emptiness of high society changed and stifled its capabilities, disfigured its moral image, and reduced its vital activity. Therefore, V. G. Belinsky called the novel a “cry of suffering” and a “sad thought” about that time. Chernyshevsky said that “Lermontov - a deep thinker for his time, a serious thinker - understands and presents his Pechorin as an example of what the best, strongest, noblest people become under the influence of the social situation of their circle.”

Pechorin fully felt and understood that under conditions of autocratic despotism, meaningful activity in the name of the common good was impossible for him and his generation. This was the reason for his boundless skepticism and pessimism, the conviction that life was “boring and disgusting.” Doubts devastated Pechorin to such an extent that he had only two convictions left: the birth of a person is a misfortune, and death is inevitable. He diverged from the environment to which he belonged by birth and upbringing. Pechorin denounces this environment and cruelly judges himself; this, according to V. G. Belinsky, is the “strength of spirit and power of will” of the hero. He is dissatisfied with his aimless life, passionately searches and cannot find his ideal: “Why did I live? For what purpose was I born?..” Internally, Pechorin moved away from the class to which he rightfully belonged by birth and social status, but the new system He did not find a social relationship that would suit him. Therefore, Pechorin does not pass any laws other than his own.

Pechorin is morally crippled by life, he has lost his good goals and turned into a cold, cruel and despotic egoist who is frozen in splendid isolation and hates himself.

According to Belinsky, “hungry for anxiety and storms”, tirelessly chasing life, Pechorin manifests himself as an evil, egocentric force that brings people only suffering and misfortune. Human happiness for Pechorin is “saturated pride.” He perceives the suffering and joy of other people “only in relation to himself” as food that supports his spiritual strength. Without much thought, for the sake of a capricious whim, Pechorin tore Bela from her home and destroyed her, greatly offended Maxim Maksimych, ruined the nest of “honest smugglers” due to empty red tape, disturbed Vera’s family peace, and grossly insulted Mary’s love and dignity.

Pechorin does not know where to go and what to do, and wastes the strength and heat of his soul on petty passions and insignificant matters. Pechorin found himself in a tragic situation, with a tragic fate: neither the surrounding reality nor the individualism and skepticism characteristic of him satisfied him. The hero has lost faith in everything, he is corroded by dark doubts, he longs for meaningful, socially purposeful activity, but does not find it in the circumstances around him. Pechorin, like Onegin, is a suffering egoist, an involuntary egoist. He became this way because of the circumstances that determine his character and actions, and therefore evokes sympathy for himself.

Pechorin is the main character in M. Yu. Lermontov’s novel “A Hero of Our Time.” The author himself points out that he embodied in his hero a collective image in which all the vices of the generation were embodied. But Pechorin’s fate is to some extent tragic; sometimes one sincerely wants to feel sorry for the hero. To understand the meaning of the work, it is important to evaluate the tragedy of Pechorin’s fate.

Character of the hero

Pechorin is a very controversial character. He is endowed with a lot of positive qualities. Everything is with him: he is handsome and rich, well-mannered and educated. Grigory carefully monitors his neatness, is not rude to anyone, or is rude. It would seem that all the positive qualities of a well-mannered secular person indicate that he can be happy. He is confident in himself and does not doubt his actions and actions. But the worst thing about this character is the lack of ability to feel. This character is a cynic and an egoist. He does not feel responsible for the destinies and lives of other people, and is capable of playing with the destinies of those who treat him well for the sake of his own whim.

The hero is incapable of love. He himself constantly feels bored, understands the strength of his egoism, calls himself a “moral cripple.” But he doesn't feel guilty about it. Knowing that his soul has become hardened, he does nothing to correct the situation. He is prone to introspection, but this does not justify him. Pechorin cannot be called a happy person. He is constantly bored. For the sake of satisfying this feeling, he neglects the feelings of other people, but he himself is completely incapable of experiencing them. Probably, the tragedy of the entire generation lies in this - the inability to experience real feelings, because this is a real gift that is inherent only to man. This can be called both a personal tragedy, because such a person is simply pitiful, and a tragedy for those around him, because they are the ones who suffer from the cynicism and selfishness of people like Pechorin.

Tragedy of a generation

But the problem lies not only in Pechorin’s character itself. It is not for nothing that the novel bears such a name, because it reflects the tragedy of an entire generation. Lermontov noted that he had met people similar to Pechorin more than once in his life, and perhaps he himself was one of them. They have a lot of opportunities, but do not feel happy. They live in a period of changing eras, when the old has already become obsolete, and the new is not yet clear. That is why the problem of this generation is global boredom, restlessness, and callousness.

"Moral Cripple"

When Pechorin starts a conversation with someone about himself, he constantly makes it clear that he knows how insensitive he is and that he himself suffers from it. When talking with Maxim Maksimych, he mentions that he is experiencing great boredom, and one can feel sorry for him. Talking to Mary, he says that society made him like this, not accepting good feelings, seeing only evil and negativity in him. That is why he became a “moral cripple.”