The tragic fate of man (Based on the novel by M.Yu. Lermontov “Hero of Our Time”) (School essays). What is the tragedy of Pechorin’s fate? (based on the novel by M
A short essay-discussion on literature on the topic: Fate in the novel “A Hero of Our Time”
The theme of fate in Lermontov's novel is considered from two sides. On the one hand, Pechorin believes in his special tragic destiny, on the other, he states: “As for me, I always move forward more boldly when I don’t know what awaits me.” Moreover, both are close to the hero at the same time: his opinion on this matter changes from chapter to chapter.
The motif of fate runs through the entire novel, finding a bright denouement in the chapter “Fatalist.” Usually, when answering the question: “What does fate mean for Pechorin,” they analyze only it, although before that there were cases of fate interfering in the hero’s life. He calls himself “an ax in the hands of fate,” believing that his harmful influence on people is his meaning in life and purpose: “This has been my fate since childhood. Everyone read on my face signs of bad feelings that were not there; but they were anticipated - and they were born.” With this phrase, he seems to explain his treacherous attitude towards Bella, playing with Mary’s feelings, barbs towards Grushnitsky and his murder. Pechorin tests people around him to confirm his idea that he is being haunted evil rock. The hero begins to feel that he cannot escape this anywhere, and in the chapter “Fatalist” he has three chances to understand himself and gain a more correct understanding of fate. Lermontov deliberately recreates several different cases, quite controversial, such that it becomes completely unclear whether this is luck or, indeed, fate.
In a dispute with Vulich, Pechorin has an ambivalent position in relation to fate, because he himself says that he sees on his face “some terrible imprint of an inevitable fate,” but does not agree with his friend that a person’s fate is predetermined. Perhaps here too the hero is trying to convince himself that there is no fate, but life plays with him, forcing him to believe the opposite: “The proof was striking, and I, despite the fact that I laughed at our ancestors and their helpful astrology, I unwittingly fell into their rut.” He also says that he is used to “not rejecting anything decisively and not trusting anything blindly,” so the question remains open. But a second event follows, convincing Pechorin of the inevitability of fate even more strongly: Vulich becomes the victim of a drunken Cossack, and the “inevitable seal of fate” falls on his face, closing his eyelids forever, as the main character predicted. Later, Grigory again “tempts fate,” this time his own, rushing to neutralize the violent Cossack alone, and life treats him as it did the first time with Vulich: Pechorin gets away with a torn epaulette and emerges victorious. This time he believes that there is no predetermination of his luck, but only sober calculation and courage.
Here the position of the hero becomes clear, who does not rush to extremes, denying fatalism or, conversely, recognizing it. He believes that fate has a place in our lives, but a person can choose it himself, doing the actions he wants. Perhaps fate is not a continuous line, but frequent crossroads at which we have to make our own choices? It seems that the hero adheres to the “middle” point of view, not rejecting the vicissitudes of fate, but also not belittling the merits of a person’s personal choice.
Interesting? Save it on your wall!Appeared to readers as mirror reflection era and its “vices”, collective image who are represented by the main character - Grigory Alexandrovich Pechorin.
Moving directly to the theme of fate in the novel, I consider it necessary to at least briefly outline the central image - Pechorin, with the help of which this semantic line is revealed.
The most complete and specific psychological picture The main character of the work is presented in the chapter “Maksim Maksimych”. draws extremely controversial personality, which harmoniously combines such features as extraordinary subtlety of soul, extraordinary personality, unusually sharp mind and at the same time, oddly enough, extreme individualism, unhealthy ambition, lack of spiritual simplicity and even “demonism.” It should also be noted that all facets of Pechorin’s character are based not on superficial, but on a true, almost natural character.
Grigory Aleksandrovich Pechorin opposes himself, his own ability to control life, to the forces of fate. And it is in this struggle that the theme of fate in the novel is revealed. Pechorin's character traits determine that he categorically refuses to believe in the predetermination of events occurring in life. Being a convinced egocentrist, he is absolutely sure that he decides his own destiny and plans his own life. One of the problems revealed within the theme of fate is Pechorin’s constant willful interference in the lives of the people around him. Such an invasion privacy is a hidden way of self-realization of the main character.
So, for example, in the chapter “Bela”, the price of Pechorin’s whim was not only the life of the “prince’s daughter”, but also the fates of many other heroes, such as Azamat, Kazbich, Bela’s father. It is no coincidence that Bela, before her death, thinks that she will not meet her lover in heaven. The scene of the heroine's death throes reflects Pechorin's helplessness in the face of the forces of fate. He was able to win a tiny victory - to make Bela fall in love with him, but Pechorin could not keep her life, which the girl herself entrusted to him.
In the chapter “Maksim Maksimych,” which is the last in the chronological series of chapters, we see a meeting of two old friends, namely Maxim Maksimych himself and Pechorin, but given the restraint and even some coldness of Grigory Alexandrovich, it is very difficult to characterize their relationship as friendship, although the reaction of the second clearly makes it clear that a person closer and closer to him does not exist. And once again Pechorin breaks down someone else’s life, but this time because of the feeling of his own loss, the meaninglessness of his own existence.
As for the chapter "Taman", this is perhaps the most mysterious part of the novel "A Hero of Our Time". As you read this chapter, many questions remain. Why did Pechorin follow the blind man? What drew him to the shore at night? And, finally, why does he care about the activities of those around him? But, remembering characteristic features Pechorin mentioned earlier, you quickly find the answers. The simple egoistic curiosity of the hero subsequently destroyed the “peaceful circle” honest smugglers».
In this chapter, Pechorin admits for the first time that in in this case he himself was at the mercy of fate, and did not simply act under the influence of circumstances: “Like a stone thrown into a smooth spring, I disturbed their calm and, like a stone, I almost sank to the bottom!”
In the chapter “Princess Mary” the theme of fate is most fully revealed in the scene of the duel between Pechorin and Grushnitsky. Main character the novel goes into battle not with a person, but with a philosophical and religious conviction. In this case, the price of his extremely stupid self-confidence could be his own life. However, the desire for self-realization makes Pechorin forget about common sense. Once again trying to prove his sole power over his life, he kills a man. But Grushnitsky is far from the only person whose life is cut short by Pechorin in this chapter. Grigory Alexandrovich also becomes a demon for the charming Mary, whom the hero falls in love with for the sake of self-affirmation.
And finally, the last chapter of the novel, but far from the least in importance - “Fatalist”. The title itself suggests that the theme of fate will be the main one for this part. Central image chapter - Lieutenant Vulich - dies due to a meaningless game with death and blind faith in predestination. His courage borders on recklessness, and the instinct of self-preservation seems to be completely absent. But Pechorin in this chapter does not miss the chance to measure his strength with fate when he breaks into the house where an armed Cossack killer is sitting.
So, undoubtedly, the novel contains moments of Pechorin’s triumph over predestination, but victory in the hero’s duel with fate still remains with the second participant in the battle. And clear evidence of this is the death of Grigory Aleksandrovich Pechorin “somewhere in Persia.”
The theme of fate in the novel “A Hero of Our Time” is one of the fundamental ones. This theme runs through all parts of the novel, starting with the story about Bel and ending with the part “Fatalist”. And this is not surprising, because in its prose work Lermontov continues his thoughts, which he conveyed earlier in many poetic works. In this vein, one can recall the terms from the poem “The Death of a Poet,” in which the author sadly exclaimed:
The poet is dead! - slave of honor -
Fate has reached its conclusion! -
The theme of fate in Lermontov's poems often appears in the image of an evil Fate for a person, which cannot be overcome, and often impossible to come to terms with. The theme of fate in “A Hero of Our Time” is also considered by the author from a tragic point of view. Let's take a closer look at the author's concept of the theme of fate in the novel.
Understanding the theme of fate by Pechorin
In the image of the main character of the novel we can see a deep attention to the theme of fate. Pechorin himself in his diary calls himself “an ax in the hands of fate.” That is, the hero thereby justifies himself and his unseemly actions, believing that, by committing them, he is something like an executioner or, more precisely, a conductor’s baton in the hands of an experienced and all-powerful ruler.
By assigning such a fate to himself, the hero thereby achieves self-affirmation in society, believing that by causing pain to others, he is only justly punishing them for their misdeeds. Thus, Pechorin thinks of himself as a demigod, claiming to be more than a mere mortal man.
Such an understanding of his role by Pechorin brings us closer to the theme of the “superman,” which will become especially relevant for humanity 70 years after the publication of the novel by M.Yu. Lermontov. However, the writer, ahead of his time, created for readers the image of such a “future superman”: a hero who is not ashamed of his bad thoughts or his bad deeds and strives to outdo his fate.
As we remember, it is faith in fate and the desire to experience it that makes Pechorin commit immoral acts that are not even interesting to him: imagining himself “an ax in the hands of fate,” he begins to pursue Mary with his barbs, and then makes her fall in love with him, laughs at Grushnitsky that ultimately leads to a fatal duel for the young man, advises Azamat - Bela's brother - to kidnap his sister for his own amusement, etc.
At the same time, sometimes there come moments in Pechorin’s life when the hero believes that the evil Rock is completely defeating him. Here's how he talks about such life collisions:
“...This has been my lot since childhood. Everyone read on my face signs of bad feelings that were not there; but they were anticipated - and they were born. I was modest - I was accused of guile: I became secretive. I felt good and evil deeply; no one caressed me, everyone insulted me: I became vindictive; I was gloomy, - other children were cheerful and talkative; I felt superior to them - they put me lower. I became envious. I was ready to love the whole world, but no one understood me: and I learned to hate.”
Thus, sometimes Pechorin tries to blame not himself for his bad actions, but his fate, believing that it is she who is the unfortunate culprit of all the troubles that happened to him.
All of Pechorin’s experiences regarding the problem of fate are resolved in the last part of the novel, called “Fatalist” (that is, a person who believes in fate). This part still remains a mystery for literary scholars, because it characterizes not so much Pechorin himself as a fatalist, but helps to understand the problems of human existence that are meaningful to the author.The story “Fatalist” as a problem of the divinity of the theme of fate
It is in the story “Fatalist” that the most important aspect of the author’s understanding of the theme of fate is resolved: namely, God or the devil guides the fate of man on earth. To solve this problem, Lermontov chooses the hero Vulich, who is an even greater fatalist than Pechorin. Vulich decided to test his fate by putting the most precious thing on the line - his life. He offered Pechorin a bet, according to which he would shoot himself in the temple with a loaded pistol and see whether he was destined to live or die (the fact is that pistols of that time misfired with a probability of one out of ten). Pechorin, looking into Vulich’s eyes, tells him that he will die tonight. Vulich shoots himself in the temple, and the pistol misfires. He goes to his home, and in the morning Pechorin finds out that he was right: Vulich died that same evening: he was hacked to death by a drunken Cossack with a saber.
According to literary scholars, Lermontov, in his characteristic authorial manner, considers the problem of fate as cruel joke the devil over man. There is a well-known gospel parable about demons who entered a herd of pigs and forced them to rush down into the abyss. In the story “Fatalist,” a devilish desire to tempt fate comes to the mind of the fatalist Vulich. He, too, seems to be possessed by a demon, forcing him to make a fatal bet. And the same demon leads to the fact that Vulich dies that same night at the hands of a bitter drunkard and brawler. It would seem that the forces of evil are triumphant: they showed people an example of their power. The evil Rock – the Demon, already described by Lermontov in one of his poems – won. However, at the end of his story, the writer somewhat softens the tragic sound of the novel’s ending with the words of the kind Maxim Maksimovich that misfires in pistols often happen, and this has nothing to do with the fact that some Cossack decided to go on a rampage that evening.
Such an ending leaves room for Divine Providence, merciful and comprehensive, and also leaves the reader the right to resolve in his own way the conflict that the author described in the last part of his novel.
Understanding the role of fate by the heroes of the novel
The fates of the heroes of the novel “A Hero of Our Time” are, as a rule, tragic. The heroes strive for happiness, but they realize that they cannot have it.
In this novel there is no happy people! Unhappy is the Circassian Bela, kidnapped by her brother and given by him to Pechorin for fun, unhappy is Mary Ligovskaya, the young princess whom Pechorin fell in love with himself in order to laugh at the feelings of the proud beautiful girl Finally, Vera is unhappy - a society lady and Pechorin’s secret lover, who is tormented by secret passion and deeply suffers from the realization of the hopelessness of her situation. The proud and intelligent Doctor Werner cannot find joy in life; the ambitious young man Grushnitsky, in love with Mary, dies in a duel. And even the kindest Maxim Maksimovich cannot be called happy man. Of course, the hero does not torment himself with deep and tragic experiences, like Pechorin, however, he often experiences grief from the events of the world around him.
A special theme of the novel is the theme of the fate of a generation in “A Hero of Our Time.” It is too the most important topic for Lermontov's creativity. All his life, the writer, poet and playwright tried to answer the question: what does his generation represent, what is his calling, the meaning of life?
As a result, Lermontov comes to the sad conclusion that the fate of his generation is difficult because the best people Russia - educated young representatives of the noble class - cannot find their place in life. They are restless and blame both themselves and the external circumstances of life for this. Lermontov himself wrote about it this way:
“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 move from doubt to doubt.”
In fact, the writer recreates the image lost generation in "A Hero of Our Time". This generation doesn't know where to direct their vitality how to serve your Fatherland.
In the novel “Hero of Our Time,” the writer raises the vital problems of human existence. He is concerned with the theme of fate, which he tries to consider in both a mystical and realistic vein. This topic itself attracts the attention of readers, which makes the work more exciting and interesting. This material will be useful for 9th grade students when writing an essay on the topic “The Theme of Fate in the novel “A Hero of Our Time”.”
Work test
At the very heart of the character system of A Hero of Our Time is the only hero- Grigory Aleksandrovich Pechorin, therefore the work of M. Yu. Lermontov belongs to the type of centripetal novels.
Other characters are introduced only to reveal the image of Pechorin as much as possible.
Comparison as a way to reveal the character of the main character
During the narrative, the author compares Grigory Alexandrovich with other characters, creating pairs literary characters. This technique contributes to a more clear and voluminous disclosure of Pechorin’s character, reflects the smallest nuances of this controversial personality. On the pages of the book we come across the following pairs of heroes: Pechorin - Maxim Maksimovich (opposition), Pechorin - Vulich (fatalism), Pechorin - Werner (friendship), Pechorin - women (romantic relationships) and so on.
The tragedy of the relationship between the protagonist and his environment
Combination of innovative literary devices(divergence of plot and plot, confessional device, comparison of pairs of characters) used by M. Yu. Lermontov shows us the hero as a tragic, suffering personality. Pechorin has an extremely complex and intense inner world, he longs for renewal, strives for it and tirelessly searches, feeling enormous, immense strength within himself, but finds nothing new.
Undoubtedly, Pechorin is a child of the time in which he lives, which is why the skepticism characteristic of this period does not allow him to find peace and find the meaning of life. The writer clearly demonstrates to us that the 1830-1840s. do not allow the personality to express itself. Any attempts at self-realization are doomed to failure, hence the antagonism between the individual and society.
The conflict of the protagonist with his own class, his elite, to which he belonged from birth, becomes obvious from the very first pages. He despises a society that turns any person into a moral cripple. And he understands that he himself has long been as crippled as everyone who surrounds him. Pechorin even admits this in a conversation with Princess Mary, creating an autoepitaph for a slowly dying soul.
The wealth of the spiritual world of Pechorin
The hero’s superiority over his environment manifests itself in different ways: he is smarter than many, his spiritual life is brighter and more complex. Awareness of the gap between himself and society is manifested in rejection of the world.
As a result, egoism and individualism became the decisive features of his character: Pechorin never loved anyone so much that he would be ready to make a sacrifice, he loved only for his own pleasure. But this does not bring him happiness and peace: the inability to empathize with his loved ones and understand their worries further cripples the life of the protagonist and those around him.
Pechorin is aware of all his shortcomings, and judges himself in the harshest way, believing that his death will not be a great loss for the world.
The main tragedy of the hero is the lack of meaning in life
Pechorin is the first character in the history of Russian literature who consciously thinks about the meaning of life and tries to understand the highest purpose of man. At night, on the eve of the duel with Grushnitsky, Grigory Alexandrovich thinks about the past, about whether there was some high purpose for his existence. He comes to the disappointing conclusion that he could not solve this riddle and realize the meaning of his own existence.
The lack of meaning, of a higher goal is the basis of Pechorin’s tragedy, the reason for his ordeals. That is why his actions are so insignificant, and his ebullient nature, all his activities are fruitless. The hero yearns for the true warmth of a relationship with another person, his soul strives for good. Despite all his searches, he finds neither peace nor shelter in such an inharmonious world, where social and moral slavery reigns. Pechorin finds the only possibility self-realization - denial, rejection of society, opposition to circumstances.
Many people believe that central character works - “an extra person”, widely represented in Russian literature. The “superfluous man” was already familiar to the writer’s contemporaries from Pushkin's novel"Eugene Onegin". The two heroes are representatives of different historical situations and eras.
The character of “A Hero of Our Time” expresses completely different character traits - the development of self-awareness, the relationship between man and society, constant reflection, the desire to comprehend the sources of his problems in order to pass on, if not great achievements, then at least this analysis to the next generations.
May 25 2015
I look sadly at our generation! Its future is either empty or dark, Meanwhile, under the burden of knowledge and doubt, It will grow old in inaction. M. Yu. Lermontov M. Yu. Lermontov “Hero of Our Time” (1840) was created in the era of government reaction, which brought to life a whole gallery of images, long years usually called by critics " extra people" Pechorin is “Onegin of his time,” argued V. G. Belinsky. But were Onegin and Pechorin really that “superfluous”? Let's try to figure it out. Lermontov's hero - a tragic fate.
He contains “immense powers” in his soul, but there is a lot of evil on his conscience. Pechorin, by his own admission, invariably plays “the role of an ax in the hands of fate,” “the necessary actor every fifth act." How does Lermontov feel about his hero? trying to understand the essence and origins of the tragedy of Pechorin’s fate.
“It will also be that the disease is indicated, but God knows how to cure it!” Pechorin is eagerly looking for applications for his extraordinary abilities, “immense mental strength", but doomed historical reality and the characteristics of your mental makeup on tragic loneliness and reflection. At the same time, he admits: “I like to doubt everything: this disposition does not interfere with the decisiveness of my character, on the contrary... I always boldly move forward when I don’t know what awaits me. After all, nothing worse can happen than death - and you cannot escape death!
"Pechorin is tragically lonely. The attempt to find the natural, simple love of the mountain woman Bela ends in failure. Pechorin openly admits to Maxim Maksimych: “...The love of a savage is for a few better than love noble lady; the ignorance and simple-heartedness of one are just as annoying as the coquetry of the other.”
The hero is doomed to be misunderstood by those around him (the only exceptions are Werner and Vera), his inner world neither the beautiful “savage” Bela nor the kind-hearted Maxim Maksimych are able to comprehend. Let us remember that at the first meeting with Grigory Aleksandrovich, the staff captain is able to notice only minor features of Pechorin’s appearance and the fact that the “thin” ensign has recently been in the Caucasus. Unfortunately, Maxim Maksimych does not understand the depth of Pechorin’s suffering after Bela’s death: “...his face did not express anything special, and I felt annoyed: if I were in his place, I would have died of grief...
“And only from the casually dropped remark that “Pechorin was unwell for a long time and lost weight,” we guess about the true strength of Grigory Alexandrovich’s experiences. Last meeting Pechorina with Maxim Maksi-mych clearly confirms the idea that “evil begets evil.” Pechorin’s indifference to his old “friend” leads to the fact that “good Maxim Maksimych became a stubborn, grumpy staff captain.” The officer-narrator guesses that Grigory Alexandrovich’s behavior is not a manifestation of spiritual emptiness and selfishness.
Particular attention is drawn to Pechorin’s eyes, which “did not laugh when he laughed... This is a sign of either an evil disposition or deep, constant sadness.” What is the reason for such sadness? We find the answer to this question in Pechorin's Journal.
Pechorin's notes are preceded by a message that he died on the way from Persia. The stories “Taman”, “Princess Mary”, “Fatalist” show that Pechorin does not find worthy use of his extraordinary abilities. Of course, the hero is head and shoulders above empty adjutants and pompous dandies who “drink, but not water, walk little, dawdle only in passing...
play and complain about boredom.” Grigory Aleksandrovich perfectly sees the insignificance of Grushnitsky, who dreams of “becoming the hero of a novel.” In Pechorin’s actions one can sense deep intelligence and sober logical calculation. Mary’s entire “seduction” is based on knowledge of the “living strings of the human heart.”
By evoking compassion for himself with a skillful story about his past, Pechorin forces Princess Mary to be the first to confess his love. Maybe before us is an empty rake, a seducer women's hearts? No! This convinces last date hero with Princess Mary. Pechorin's behavior is noble.
He is trying to alleviate all rights reserved 2001-2005 the suffering of the girl who fell in love with him. Pechorin, contrary to his own statements, is capable of sincere, great feelings, but the hero’s love is complex. Thus, the feeling for Vera awakens with renewed vigor when there is a danger of losing the only woman who understood Grigory Alexandrovich completely.
“With the possibility of losing her forever, Faith became dearer to me than anything in the world - more valuable than life, honor, !” - Pechorin admits. Having driven his horse on the way to Pyatigorsk, the hero “fell on the grass and cried like a child.” This is the power of feelings!
Pechorin's love is lofty, but tragic for himself and disastrous for those who love him. The fates of Bela, Princess Mary and Vera prove this. with Grushnitsky - an illustration of the fact that Pechorin’s extraordinary abilities are wasted, on small, insignificant goals. However, in his attitude towards Grushnitsky, Pechorin is noble and honest in his own way. During a duel, he makes every effort to evoke belated repentance in his opponent and awaken his conscience. Useless!
Grushnitsky shoots first. “The bullet grazed my knee,” comments Pechorin. The play of good and evil in the hero’s soul is a great artistic discovery of Lermontov the realist. Before the duel, Grigory Alexandrovich makes a kind of deal with his own conscience. Nobility is combined with mercilessness: “I decided to provide all the benefits to Grushnitsky; I wanted to experience it; a spark of generosity could awaken in his soul...
I wanted to give myself every right not to spare him if fate had mercy on me.” And Pechorin does not spare the enemy. Grushnitsky’s bloody corpse slides into the abyss... But victory does not bring Pechorin joy, the light fades in his eyes: “The sun seemed dim to me, its rays did not warm me.”
Let’s summarize Pechorin’s practical “activities”: because of a trifle, Azamat puts his life in serious danger; the beautiful Bela and her father die at the hands of Kazbich, and Kazbich himself loses his faithful Karagez; the fragile world of “honest smugglers” is collapsing; Grushnitsky was shot in a duel; Vera and Princess Mary suffer deeply; Vulich's life ends tragically. What made Pechorin “an ax in the hands of fate”? Lermontov does not introduce us to chronological biography your hero. The plot and composition of the novel are subordinated to one goal - to deepen the socio-psychological and philosophical analysis Pechorina.
The hero appears the same in different stories of the cycle, does not change, does not evolve. This is a sign of early “deadness”, the fact that before us is, indeed, a half-corpse, in whom “some kind of secret cold reigns in the soul, when fire boils in the blood.” Many of Lermontov's contemporaries tried to limit all the richness of Pechorin's image to one quality - egoism. Belinsky resolutely defended Pechorin from accusations of lack of high ideals: “Are you saying that he is selfish? But doesn't he despise and hate himself for this? Doesn’t his heart long for pure and selfless love?
No, this is not selfishness...” But what is it? Pechorin himself gives us the answer to the question: “My colorless youth was spent in a struggle with myself and the light; My best feelings, fearing ridicule, I buried in the depths of my heart: they died there...” Ambition, thirst for power, the desire to subjugate those around him to his will take possession of the soul of Pechorin, who “from the storm of life... brought out only a few ideas - and not a single feeling.” The question of the meaning of life remains open in the novel: “...
Why did I live? For what purpose was I born?.. And, it’s true, it existed, and, it’s true, I had a high purpose, because I feel immense powers in my soul... But I didn’t guess this purpose, I was carried away by the lures of empty and ungrateful passions; I came out of their crucible hard and cold as iron, but I lost forever the ardor of noble aspirations - the best color of life.”
It seems to me that the tragedy of Pechorin’s fate is connected not only with social conditions life of the hero (belonging to secular society, political reaction in Russia after the defeat of the Decembrist uprising), but also with the fact that a sophisticated ability for introspection and brilliant analytical thinking, “the burden of knowledge and doubt” lead a person to a loss of simplicity and naturalness. Even the healing power of nature is unable to heal the hero’s restless soul. Pechorin is eternal precisely because it is not limited to the social.
There are Pechorins even now, they are next to us... And I would like to end the essay with lines from wonderful poem Y. P. Polonsky: And the soul of space breaks out from under the power of the Caucasian communities - The bell is ringing and ringing... The young man’s horses are rushing to the north... To the side I hear the croaking of a raven, I can distinguish the corpse of a horse in the darkness - Chase, chase! Pechorin's shadow is catching up with me...
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