Why Pechorin is a "hero of our time"

The novel "A Hero of Our Time" was written by Mikhail Lermontov in the 1830s. This was the time of the Nikolaev reaction, which came after the dispersal of the Decembrist uprising in 1825. Many young, educated people did not see a goal in life at that time, did not know where to apply their strength, how to serve for the good of people and the Fatherland. That is why such restless characters as Grigory Aleksandrovich Pechorin arose. The characteristic of Pechorin in the novel "A Hero of Our Time" is, in fact, a characteristic of the entire generation of the author today. Boredom is his characteristic. “The Hero of Our Time, my dear sirs, is, for sure, a portrait, but not of one person: this is a portrait made up of the vices of our entire generation, in their full development,” Mikhail Lermontov writes in the preface. "Are the young people there really like that?" - asks one of the characters in the novel Maxim Maksimych, who knew Pechorin closely. And the author, acting in the role of a traveler, answers him that "there are many people who say the same thing" and that "nowadays those who ... are bored try to hide this misfortune like a vice."

We can say that all of Pechorin's actions are motivated by boredom. We begin to be convinced of this practically from the first lines of the novel. It should be noted that compositionally it is built in such a way that the reader can see as best as possible all the character traits of the hero, from different angles. The chronology of events here fades into the background, or rather, it is not here at all. Pieces have been snatched out of Pechorin's life, which are connected only by the logic of his image.

Pechorin's characteristic

Deeds

We first learn about this man from Maxim Maksimych, who served with him in the Caucasian fortress. He tells the story of Bela. Pechorin, for the sake of entertainment, persuaded her brother to steal the girl - a beautiful young Circassian woman. While Bela is cold with him, she is interesting to him. But as soon as he achieves her love, he immediately grows cold. Pechorin does not care that, because of his whim, fate is tragically destroyed. Bela's father is killed, and then herself. Somewhere deep down, he feels sorry for this girl, any memory of her makes him bitter, but he does not repent of his deed. Even before her death, he confesses to his friend: "If you want, I still love her, I am grateful to her for a few rather sweet minutes, I will give my life for her - only I am bored with her ...". The love of a savage turned out to be little better for him than the love of a noble lady. This psychological experiment, like all the previous ones, did not bring him happiness and satisfaction with life, but left one disappointment.

In the same way, for the sake of idle interest, he intervened in the life of "honest smugglers" (chapter "Taman"), as a result of which the unfortunate old woman and the blind boy were left without a livelihood.

Another fun for him was Princess Mary, with whose feelings he shamelessly played, giving her hope, and then confessing that he did not love her (chapter "Princess Mary").

We learn about the last two cases from Pechorin himself, from a magazine that at one time he kept with great enthusiasm, wanting to understand himself and ... kill boredom. Then he lost interest in this occupation. And his notes - a suitcase of notebooks - remained with Maxim Maksimych. It was in vain that he drove them with him, wanting to hand them over to the owner on occasion. When such an opportunity presented itself, Pechorin did not need them. Therefore, he did not keep his diary for fame, not for publication. This is the special value of his notes. The hero describes himself without worrying about how he will look in the eyes of others. He does not need to bend his soul, he is sincere with himself - and thanks to this we can learn about the true reasons for his actions, understand him.

Appearance

A traveling author was a witness to the meeting between Maxim Maksimych and Pechorin. And from him we learn how Grigory Alexandrovich Pechorin looked. In all his appearance, an inconsistency was felt. At first glance, he was no more than 23 years old, but the next minute it seemed that he was 30. His gait was careless and lazy, but at the same time he did not wave his arms, which usually testifies to the secrecy of character. When he sat down on the bench, his straight stance bent, limp, as if not a single bone remained in his body. The young man's forehead showed traces of wrinkles. But the author was especially struck by his eyes: they did not laugh when he laughed.

Traits

The external characteristics of Pechorin in The Hero of Our Time reflects his internal state. “I have long been living not with my heart, but with my head,” he says about himself. Indeed, all his actions are characterized by cold rationality, but the feelings no-no and break through. He fearlessly walks alone on the wild boar, but flinches from the knock of shutters, he can spend the whole day hunting on a rainy day and is panicky afraid of a draft.

Pechorin forbade himself to feel, because his real impulses of the soul did not find a response in those around him: “Everyone read on my face signs of bad feelings, which were not there; but they were supposed - and they were born. I was modest - I was accused of cunning: I became secretive. I deeply felt good and evil; no one caressed me, everyone insulted me: I became rancorous; I was gloomy - other children are cheerful and talkative; I felt superior to them - they put me lower. I became envious. I was ready to love the whole world - no one understood me: and I learned to hate. "

He rushes about, not finding his vocation, purpose in life. “It’s true, my assignment was high, because I feel immense strength in myself.” Secular entertainment, novels - a passed stage. They brought him nothing but inner emptiness. In the study of the sciences, which he engaged in in the desire to be useful, he also did not find any sense, because he realized that the guarantee of success is in dexterity, and not in knowledge. Boredom overcame Pechorin, and he hoped that at least the Chechen bullets whistling over his head would save him from her. But in the Caucasian War he was again disappointed: "A month later I got so used to their buzzing and the proximity of death that, really, I paid more attention to mosquitoes - and I became more bored than before." What was he to direct his unspent energy to? The consequence of his lack of demand was, on the one hand, unjustified and illogical actions, and on the other - painful vulnerability, deep inner sadness.

Attitude to love

The fact that Pechorin did not lose the ability to feel is also evidenced by his love for Vera. This is the only woman who understood him completely and accepted him as he is. He does not need to embellish himself in front of her, or, conversely, seem unapproachable. He fulfills all the conditions, just to be able to see her, and when she leaves, he drives the horse to death in an effort to catch up with his beloved.

In a completely different way, he treats other women that come his way. There is no place for emotions anymore - one calculation. For him, they are just a way to dispel boredom, at the same time showing their selfish power over them. He studies their behavior, like those of guinea pigs, coming up with new twists and turns in the game. But this does not save him either - often he knows in advance how his victim will behave, and he becomes even more melancholy.

Attitude towards death

Another important point in the character of Pechorin in the novel "A Hero of Our Time" is his attitude to death. It is fully demonstrated in the chapter "The Fatalist". Although Pechorin recognizes the predetermination of fate, he believes that this should not deprive a person of will. We must boldly go forward, "after all, nothing worse than death will happen - and death cannot be avoided." It is here that we see what noble actions Pechorin is capable of, if his energy is directed in the right direction. He bravely throws himself out the window in an effort to neutralize the Cossack assassin. His innate desire to act, to help people finally finds at least some application.

My attitude to Pechorin

How does this person deserve to be treated? Condemnation or sympathy? The author called his novel so with some irony. The "hero of our time" is certainly not a role model. But he is a typical representative of his generation, forced to waste its best years. “I am a fool or a villain, I don’t know; but it is true that I am also very deserving of pity, "Pechorin says about himself and gives the reason:" My soul is corrupted by the light. " He sees the last consolation for himself in travels and hopes: "Maybe I'll die somewhere along the way." You can treat him in different ways. One thing is certain: he is an unhappy person who never found his place in life. If the society of his day was arranged differently, he would have shown himself in a completely different way.

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Grigory Pechorin is the central character of M. Yu. Lermontov's novel "A Hero of Our Time", which appeared in the late 30s and early 40s of the 19th century and caused an ambiguous and very diverse reaction among readers. This is the first socio-psychological novel in Russian classical literature, and all the plot twists and turns, events and minor characters are shown in order to fully reveal Pechorin's character and personal characteristics.

The novel includes five novellas, representing some stages in the development of Pechorin's personality and the disclosure of all the depths of his difficult and ambiguous character to the reader.

Characteristics of the hero

Grigory Aleksandrovich Pechorin is an attractive young aristocrat and officer from St. Petersburg, a typical representative of the youth of the 30s of the nineteenth century. He has received a proper education and upbringing, is rich and independent, has an attractive appearance and is popular with people of the opposite sex. However, he is dissatisfied with his life and is spoiled by luxury. He quickly gets bored with everything and he does not see an opportunity for himself to become happy. Pechorin is in perpetual motion and in search of himself: he is in a Caucasian fortress, then on vacation in Pyatigorsk, then together with smugglers in Taman. Even his death lies in wait when he travels from Persia to his homeland.

With the help of a detailed description of the hero's appearance, the author tries to reveal his character to us. Pechorin is not deprived of male attractiveness, is strong, slender and fit, the military uniform suits him very much. He has curly blond hair, expressive brown eyes, cold and haughty, they never laugh and it is impossible to read thoughts from their expression. Blond hair combined with dark mustache and eyebrows give his appearance individuality and originality.

(Pechorin on horseback, drawing)

Pechorin's soul is burning with a thirst for activity, but he does not know where to apply himself, and therefore wherever he appears he sows evil and sorrow around. Because of a stupid duel, his friend Grushnitsky dies, through his fault the daughter of the Caucasian prince Circassian Bela dies, for the sake of entertainment he falls in love with himself, and then without regret abandons Princess Mary. Because of him, the only woman he loved, Vera, also suffers, but he also cannot make her happy and she is doomed to suffer.

The image of the main character

Pechorin reaches out to people, longs for communication, but does not see a response in their souls, because he is not like them, their thoughts, desires and feelings do not coincide at all, which makes him strange and unlike others. Pechorin, like Pushkin's Eugene Onegin, is burdened by his calm and measured life, but unlike the Pushkin hero, he is constantly looking for ways to add spice to his life, and not finding it, he suffers greatly from this. His own whims have always been and will be in the first place for him, and to satisfy his desires, he is ready for anything. He likes to manipulate people and subjugate them, he enjoys power over them.

At the same time, Pechorin also has positive qualities and, in addition to reproaches and censure, deserves sympathy and sympathy. He is distinguished by a sharp mind and judging others, he is rather self-critical and demanding of himself. Pechorin is not alien to poetry and lyrical moods, he subtly feels nature and admires its beauty. During the duel, he shows enviable courage and courage, he does not coward and does not retreat back, his cold-bloodedness is at its best. Despite his own egoism, Pechorin is capable of real feelings, for example, towards Vera, it turns out that he can also be sincere and know how to love.

(M.A. Vrubel "Duel of Pechorin with Grushnitsky" 1890-1891)

Pechorin's personality is so complex and ambiguous that it is impossible to say with certainty what feelings he evokes in readers: sharp condemnation and hostility, or all the same sympathy and understanding. The main features of his character are the contradiction between his thoughts and actions, opposition to the surrounding circumstances and twists of fate. The hero is seething with desires to act, but most often his actions result either in empty and unnecessary actions, or, on the contrary, bring pain and misfortune to his loved ones. Having created the image of Pechorin, a kind of hero of his time, whose prototypes Lermontov met at every step, the author wanted to focus on the moral responsibility of each person for his thoughts and actions, for life choices and how it can affect the people around him.

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Man is always driven by the desire to know his destiny. Should you go with the flow or resist it? What position in society will be correct, should all actions comply with moral norms? These and similar questions often become the main ones for young people who actively comprehend the world and the human essence. Youthful maximalism requires clear answers to these problematic questions, but it is not always possible to give an answer.

It is about such a seeker of answers that M.Yu. Lermontov in his novel A Hero of Our Time. It should be noted that with writing prose, Mikhail Yuryevich was always on the "you" and his same position remained until the end of his life - all the novels in prose he started were never completed. Lermontov had the courage to bring the case with "Hero" to a logical conclusion. Perhaps that is why the composition, manner of presentation of the material and style of narration look, against the background of other novels, rather unusual.

A Hero of Our Time is a work imbued with the spirit of the era. The characterization of Pechorin, the central figure of Mikhail Lermontov's novel, makes it possible to better understand the atmosphere of the 1830s, the time when the work was written. It is not for nothing that the “Hero of Our Time” is recognized by critics as the most mature and large-scale in the philosophical sense of Mikhail Lermontov's novels.

The historical context is of great importance for understanding the novel. In the 1830s, Russian history was reactive. In 1825, the Decembrist uprising took place, and the following years contributed to the development of a mood of loss. The Nikolaev reaction knocked many young people off the track: young people did not know which vector of behavior and life to choose, how to make life meaningful.

This was the reason for the emergence of restless personalities, unnecessary people.

The origin of Pechorin

Basically in the novel, one character is highlighted, which is the central character in the narrative. One gets the impression that this principle was rejected by Lermontov - based on the events told to the reader, the main character is Grigory Alexandrovich Pechorin - a young man, an officer. However, the style of the narration gives rise to doubt - the position in the text of Maxim Maksimovich is also quite weighty.

In fact, this is a delusion - Mikhail Yuryevich has repeatedly emphasized that in his novel the main character is Pechorin, this corresponds to the main goal of the narrative - to tell about typical people of the generation, to point out their vices and mistakes.

Lermontov provides rather scant information about childhood, the conditions of upbringing and the influence of parents on the process of forming Pechorin's positions and preferences. Several fragments of his past life slightly open this veil - we learn that Grigory Alexandrovich was born in St. Petersburg. His parents, according to the existing order, tried to give their son a proper education, but the young Pechorin did not feel a burden to the sciences, they "quickly bored him" and he decided to devote himself to military service. Perhaps such an act is connected not with the arisen interest in military affairs, but with the special disposition of society towards military people. The uniform made it possible to brighten up even the most unattractive actions and character traits, because the military was loved already for what they are. In society it was difficult to find representatives who did not have a military rank - military service was considered honorable and everyone wanted to "try on" honor and glory along with the uniform.

As it turned out, military affairs did not bring proper satisfaction and Pechorin quickly became disillusioned with it. Grigory Alexandrovich was sent to the Caucasus, as he was involved in a duel. The events that happened to the young man in this area form the basis of Lermontov's novel.

Characteristics of the actions and deeds of Pechorin

The reader gets the first impressions of the main character of Lermontov's novel by meeting Maxim Maksimych. The man served with Pechorin in the Caucasus, in a fortress. It was the story of a girl named Bela. Pechorin did bad things to Bela: out of boredom, while having fun, the young man stole a Circassian girl. Bela is a beauty, at first cold with Pechorin. Gradually, the young man kindles in Bela's heart the flame of love for him, but as soon as the Circassian woman fell in love with Pechorin, he immediately lost interest in her.

Pechorin destroys the fate of other people, makes others suffer, but remains indifferent to the consequences of his actions. Bela and the girl's father are killed. Pechorin remembers the girl, regrets Bela, the past echoes in the hero's soul with bitterness, but does not cause remorse in Pechorin. While Bela was alive, Grigory told his friend that he still loved the girl, felt gratitude to her, but boredom remained the same, and it was boredom that decided everything.

An attempt to find satisfaction, happiness pushes the young man to experiments, which the hero puts on living people. Psychological games, meanwhile, turn out to be useless: the same emptiness remains in the hero's soul. The same motives accompany Pechorin's exposure of the "honest smugglers": the hero's act does not bring good results, only leaving the blind boy and old woman on the brink of survival.

The love of a wild Caucasian beauty or a noblewoman - it doesn't matter for Pechorin. The next time for the experiment, the hero chooses an aristocrat - Princess Mary. The handsome Gregory plays with the girl, causing Mary to love him in her soul, but after that he leaves the princess, breaking her heart.

The reader learns about the situation with Princess Mary and the smugglers from the diary that the main character started, wishing to understand himself. In the end, even the diary bothers Pechorin: any activity ends in boredom. Grigory Alexandrovich does not bring anything to the end, unable to endure the suffering from the loss of interest in the subject of his former passion. Pechorin's records accumulate in a suitcase, which falls into the hands of Maxim Maksimych. The man experiences a strange affection for Pechorin, perceiving the young man as a friend. Maxim Maksimych keeps Grigory's notebooks and diaries, hoping to give the suitcase to a friend. But the young man is indifferent to fame, fame, Pechorin does not want to publish records, so diaries turn out to be unnecessary waste paper. This secular disinterest of Pechorin is the peculiarity and value of the hero of Lermontov.

Pechorin has one important feature - sincerity towards himself. The hero's actions evoke antipathy and even condemnation in the reader, but one thing must be admitted: Pechorin is open and honest, and a touch of vice comes from weak will and the inability to resist the influence of society.

Pechorin and Onegin

After the first publications of Lermontov's novel, both readers and literary critics began to compare Pechorin from Lermontov's novel and Onegin from Pushkin's work. Both heroes share similar character traits, certain actions. As the researchers note, both Pechorin and Onegin were named according to the same principle. The names of the heroes are based on the name of the river - Onega and Pechora, respectively. But the symbolism does not end there.

Pechora is a river in the northern part of Russia (modern Komi Republic and Nanets Autonomous Okrug), by its nature it is a typical mountain river. Onega is located in the modern Arkhangelsk region and is quieter. The nature of the flow has a relationship with the characters of the heroes named after them. Pechorin's life is full of doubts and active searches for his place in society, he, like a seething stream, sweeps away everything without a trace in his path. Onegin is deprived of such a scale of destructive power, complexity and inability to realize oneself cause in him a state of dull melancholy.

Byronism and the "extra man"

In order to fully perceive the image of Pechorin, to understand his character, motives and actions, it is necessary to have knowledge about the Byronic and superfluous hero.

The first concept came to Russian literature from England. Dzh.Bynov in his poem "Childe-Harold's Pilgrimage" created a unique image endowed with a desire to actively search for their destiny, the characteristics of egocentrism, dissatisfaction and desire for change.

The second is a phenomenon that arose in Russian literature itself and denotes a person who was ahead of his time and therefore alien and incomprehensible to those around him. Or one who, based on his knowledge and understanding of everyday truths, is higher in the development of others and, as a result, he is not accepted by society. Such characters become the cause of suffering for female representatives who love them.

Grigory Aleksandrovich Pechorin is a classic representative of romanticism, who combined the concepts of Byronism and the superfluous person. Despondency, boredom and spleen are the product of this combination.

Mikhail Lermontov considered the history of the life of an individual more interesting than the history of the people. Circumstances make Pechorin a "superfluous person". The hero is talented and intelligent, but the tragedy of Grigory Alexandrovich consists in the absence of a goal, in the inability to adapt himself, his talents to this world, in the general restlessness of the personality. In this, Pechorin's personality is an example of a typical decadent.

The strength of a young man is spent not on finding a goal, not on self-realization, but on adventure. Sometimes, literary critics compare the images of Pushkin's Eugene Onegin and Lermontov's Grigory Pechorin: Onegin is bored, and Pechorin is suffering.

After the Decembrists were exiled, progressive trends and tendencies also succumbed to persecution. For Pechorin, a progressive-minded person, this meant the onset of a period of stagnation. Onegin has every opportunity to take the side of the people's cause, but refrains from doing so. Pechorin, having a desire to reform society, is deprived of such an opportunity. The wealth of spiritual forces Grigory Alexandrovich ruins on trifles: he hurts the girls, Vera and Princess Mary suffer because of the hero, Bela dies ...

Pechorin was ruined by society and circumstances. The hero keeps a diary, where he notes that as a child, he spoke only the truth, but the adults did not believe in the boy's words.

Then Gregory became disillusioned with life and former ideals: a lie took the place of truth. As a young man, Pechorin sincerely loved the world. Society laughed at him and this love - Gregory's kindness turned into malice.

The secular environment, literature quickly bored the hero. Hobbies were replaced by other passions. Only travel can save you from boredom and disappointment. Mikhail Lermontov unfolds on the pages of the novel the whole evolution of the personality of the protagonist: the characteristic of Pechorin is revealed to the reader by all the central episodes of the formation of the hero's personality.

The character of Grigory Alexandrovich is accompanied by actions, behavior, decisions that more fully reveal the personality traits of the character. Pechorin is also evaluated by other heroes of Lermontov's novel, for example, Maxim Maksimych, who notices the contradictory nature of Grigory. Pechorin is a strong, strong-bodied young man, but sometimes the hero is overcome by a strange physical weakness. Grigory Alexandrovich turned 30 years old, but the hero's face is full of childish features, and in appearance the hero is no more than 23 years old. The hero laughs, but at the same time sadness can be seen in Pechorin's eyes. The opinions about Pechorin, expressed by different characters in the novel, allow readers to look at the hero, respectively, from different positions.

The death of Pechorin expresses the idea of \u200b\u200bMikhail Lermontov: a person who has not found a goal remains superfluous, unnecessary for the environment. Such a person cannot serve for the good of mankind, does not represent value for society and the fatherland.

In The Hero of Our Time, the writer described the entire generation of his contemporaries - young people who have lost the purpose and meaning of life. Just as Hemingway's generation is considered lost, so Lermontov's generation is considered lost, superfluous, restless. These young people are prone to boredom, which turns into a vice in the context of the development of the local society.

Appearance and age of Pechorin

At the time of the beginning of the narrative, Grigory Alexandrovich Pechorin is 25 years old. He looks very good, well-groomed, so in some moments it seems that he is much younger than he really is. There was nothing unusual about his height and build: medium height, strong athletic build. He was a man with pleasant features. As the author notes, he had a "unique face", one that women love madly. Light, naturally curly hair, a "slightly upturned" nose, snow-white teeth and a cute childish smile - all this complements his appearance.

His brown eyes seemed to live a separate life - they never laughed when their owner laughed. Lermontov names two reasons for this phenomenon - either we are facing a man of evil disposition, or in a state of deep depression. What kind of explanation (or both at once) are applicable to the hero Lermontov does not give a direct answer - the reader will have to analyze these facts themselves.

The expression on his face is also incapable of expressing any emotion. Pechorin does not restrain himself - he simply lacks the ability to empathize.

The heavy, unpleasant look finally smears this look.

As you can see, Grigory Alexandrovich looks like a porcelain doll - his cute face with childish features seems to be a frozen mask, and not the face of a real person.

Pechorin's clothes are always neat and clean - this is one of those principles that Grigory Alexandrovich follows impeccably - an aristocrat cannot be an untidy slob.

While in the Caucasus, Pechorin easily leaves his usual outfit in the closet and puts on the national male Circassian dress. Many people say that these clothes make him look like a true Kabardian - sometimes people belonging to this nationality do not look so impressive. Pechorin looks more like a Kabardian than the Kabardians themselves. But in these clothes he is a dandy - the length of the fur, the decoration, the color and size of the clothes - everything is chosen with extraordinary care.

Characteristics of character traits

Pechorin is a classic representative of the aristocracy. He himself comes from a noble family, who received a decent upbringing and education (knows French, dances well). All his life he lived in abundance, this fact allowed him to start his journey of searching for his destiny and such an occupation that would not let him get bored.

At first, the attention given to him by women pleasantly flattered Grigory Alexandrovich, but soon he was able to study the types of behavior of all women and therefore communication with the ladies became boring and predictable for him. The impulses to create his own family are alien to him, and as soon as it comes to hints about a wedding, his ardor for the girl instantly disappears.

Pechorin is not assiduous - sciences and reading catch up with him even more than secular society, blues. A rare exception in this regard is provided by the works of Walter Scott.

When secular life became too painful for him, and travel, literary activity and science did not bring the desired result, Pechorin decides to start a military career. He, as is customary among the aristocracy, serves in the Petersburg Guard. But even here he does not stay long - participation in a duel dramatically changes his life - for this offense he is exiled to serve in the Caucasus.

If Pechorin were a hero of the folk epic, then the word "strange" would be his constant epithet. All heroes find in him something unusual, different from other people. This fact is not related to habits, mental or psychological development - here it is just about the ability to express your emotions, adhere to the same position - sometimes Grigory Alexandrovich is very contradictory.

He likes to deliver pain and suffering to others, he realizes this and understands that such behavior does not paint not only him specifically, but also any person. And yet he does not try to restrain himself. Pechorin, compares himself to a vampire - the realization that someone will spend the night in mental anguish is incredibly flattered to him.

Pechorin is persistent and stubborn, this creates many problems for him, because of this, he often finds himself in not the most pleasant situations, but here courage and determination come to his rescue.

Grigory Alexandrovich becomes the cause of the destruction of the life paths of many people. By his grace, the blind boy and the old woman remain abandoned to their fate (an episode with the smugglers), Vulich, Bella and her father die, Pechorin's friend dies in a duel at the hands of Pechorin himself, Azamat becomes a criminal. This list can still be replenished with many names of people whom the main character insulted, became a reason for resentment and depression. Does Pechorin know and understand the full severity of the consequences of his actions? Quite, but this fact does not bother him - he does not value his life either, not that the fate of other people.

Thus, the image of Pechorin is contradictory and ambiguous. On the one hand, you can easily find positive character traits in him, but on the other hand, callousness and selfishness confidently reduce all his positive achievements to nothing - Grigory Aleksandrovich destroys his own fate and the fate of the people around him with his recklessness. He is a destructive force that is difficult to resist.

Psychological portrait of Grigory Pechorin

To represent the character traits of the character Lermontov helps the appeal to the appearance and habits of the hero. For example, Pechorin is distinguished by a lazy and careless gait, but at the same time, the hero's gestures do not indicate that Pechorin is a secretive person. The young man's forehead was spoiled with wrinkles, and when Grigory Alexandrovich was sitting, the impression was created that the hero was tired. When Pechorin's lips laughed, his eyes remained motionless, sad.

Pechorin's fatigue manifested itself in the fact that the hero's passion did not linger for a long time in any object or person. Grigory Alexandrovich said that in life he is guided not by the dictates of the heart, but by the orders of the head. This is coldness, rationality, periodically interrupted by a short-term riot of feelings. Pechorin is characterized by a feature called fatality. The young man is not afraid to go to the wild boar, looking for adventure and risk, as if tempting fate.

The contradictions in Pechorin's characterization are manifested in the fact that with the courage described above, the hero is frightened by the slightest crackle of window shutters or the sound of rain. Pechorin is a fatalist, but at the same time convinced of the importance of human willpower. There is a certain predestination in life, expressed at least in the fact that a person will not escape death, so why then are they afraid to die? In the end, Pechorin wants to help society, to be useful, saving people from a Cossack killer.

Oleg Dal
Igor Petrenko Information Nickname Occupation

Grigory Aleksandrovich Pechorin - a fictional character, an officer of the Russian Imperial Army, the protagonist of the novel "A Hero of Our Time", written by Mikhail Yuryevich Lermontov. Combines the features of the Byronic hero of the era of romanticism and the "superfluous person" who has not found use for himself.

Biography

	Pechorin in Wikiquote

Mikhail Lermontov developed the Pushkin character. In his 1840 article, Belinsky called Pechorin "Onegin of our time." According to him, "their dissimilarity is much less than the distance between Onego and Pechora." Pushkin, finding Onegin in the reality around him, began to criticize it; Lermontov exposed the egoist hero.

Tatyana Aleksandrovna Ivanova, the author of a number of books dedicated to Lermontov, believes that when writing "A Hero of Our Time" the image of Onegin stood before his eyes. She points to a slip in the manuscript - instead of the name of the hero of his novel, he wrote "Eugene", and later corrected the mistake.

Criticism

The image of Pechorin in cinema

In 1913 Khanzhankov's studio filmed Bela, the role of Pechorin was played by A. Gromov, who directed the film. In -1927, Vladimir Barsky at the studio "Goskinprom of Georgia" based on the work was staged three films - "Princess Mary", "Bela" and "Maxim Maksimych" with Nikolai Prozorovsky in the title role. Although the film received negative reviews from critics, Prozorovsky's performance was rated positively by them. After the appearance of sound films, the novel was repeatedly filmed by the M. Gorky Studio. In 1955, the color film "Princess Mary" was released by director and screenwriter Isidor Annensky, the main role in it went to Anatoly Verbitsky. In 1967, "A Hero of Our Time" was released, consisting of three short stories ("Bela", "Taman" and "Maxim Maksimych"), directed by Stanislav Rostotsky. Pechorin was played by Vladimir Ivashov. According to Soviet critics, because of the illustrative nature of the picture, its authors were unable to recreate the character and reveal the hero's inner world. In 1975, the Central Television staged a television show "Pages of Pechorin's Magazine". The director was Anatoly Efros, and the performer of the role of Pechorin was Oleg Dal. In the 8-episode television series by Alexander Kott "A Hero of Our Time" (2006), which was rather coolly received by critics, the role of Pechorin was played by actor Igor Petrenko, whose performance was recognized as successful.

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Notes

An excerpt characterizing Pechorin

It was an autumnal, warm, rainy day. The sky and the horizon were the same color of muddy water. Now it was like a fog, now it suddenly let up a slanting, heavy rain.
Denisov rode on a thoroughbred, thin horse with tucked-up sides, in a burka and a hat, from which water was flowing. He, like his horse, which was squinting its head and tucking its ears, winced from the slanting rain and looked anxiously ahead. His face, emaciated and overgrown with a thick, short, black beard, seemed angry.
Next to Denisov, also in a burka and a hat, on a well-fed, large bottom rode a Cossack esaul - Denisov's employee.
Esaul Lovaysky - the third, also in a burka and a fur hat, was a long, flat as a board, white-faced, blond man, with narrow light eyes and a calmly smug expression both in the face and in the seat. Although it was impossible to say what the peculiarity of the horse and the rider consisted, but at the first glance at Esaul and Denisov it was clear that Denisov was both wet and awkward - that Denisov was a man who mounted a horse; while, looking at the esaul, it was clear that he was just as comfortable and calm as ever, and that he was not a man who mounted a horse, but a man with a horse, one creature enlarged by double strength.
A little ahead of them was a soaked peasant guide, in a gray caftan and a white cap.
A little behind, on a thin, thin Kyrgyz horse with a huge tail and mane and with his lips parted in blood, rode a young officer in a blue French overcoat.
A hussar rode beside him, carrying a boy in a torn French uniform and a blue cap on the back of a horse. The boy held on to the hussar with his hands red from the cold, moved his bare feet, trying to warm them, and raising his eyebrows, looked around him in surprise. It was a French drummer taken this morning.
Behind, three, four at a time, along a narrow, soggy and beaten forest road, the hussars, then the Cossacks, some in a burka, some in a French greatcoat, some in a blanket draped over their heads, stretched. The horses, both red and bay, all looked black from the rain pouring off them. The horses' necks seemed oddly thin from the wet manes. Steam rose from the horses. And the clothes, and the saddles, and the reins - everything was wet, slimy and sour, just like the earth and the fallen leaves with which the road was laid. People sat ruffled, trying not to move in order to warm the water that had spilled to the body, and not to let the new cold water leaking under the seats, knees and behind the necks. In the middle of the stretched out Cossacks, two wagons on French horses and Cossack horses harnessed to their saddles rumbled over stumps and twigs and muttered along the water-filled ruts of the road.
Denisov's horse, bypassing the puddle that was on the road, reached to the side and pushed him with his knee against the tree.
"Eh, why" t! "Denisov screamed angrily and, baring his teeth, struck the horse three times with a whip, splashing himself and his comrades with mud. Denisov was out of sorts: both from the rain and from hunger (no one had eaten anything since morning), and the main thing is that there was still no news from Dolokhov and the one sent to take the tongue did not return.
“There will hardly be another such case as now, to attack transport. It is too risky to attack one, but to postpone until another day - some of the big partisans will seize prey from under the nose, ”Denisov thought, constantly looking ahead, thinking to see the expected messenger from Dolokhov.
Having driven out onto a clearing, along which one could see far to the right, Denisov stopped.
“Someone is coming,” he said.
Esaul looked in the direction indicated by Denisov.
- Two are going - an officer and a Cossack. Only it is not assumed that there was a lieutenant colonel himself, - said the esaul, who liked to use words unknown to the Cossacks.
Those who were driving, having gone downhill, disappeared from sight and a few minutes later appeared again. Ahead in a tired gallop, whipping around with a whip, rode an officer, disheveled, soaked through and with trousers fluffed above the knees. Behind him, standing on the stirrups, trotted a Cossack. This officer, a very young boy, with a broad, ruddy face and quick, cheerful eyes, galloped up to Denisov and handed him a sodden envelope.
- From the general, - said the officer, - I'm sorry it's not quite dry ...
Denisov, frowning, took the envelope and began to open it.
“They said everything that is dangerous, dangerous,” said the officer, addressing the esaul, while Denisov read the envelope given to him. “However, Komarov and I,” he pointed to the Cossack, “got ready. We have two pistoes ... And what is that? - He asked, seeing the French drummer, - a prisoner? Have you already been to the battle? Can I talk to him?
- Rostov! Peter! - Denisov shouted at this time, running through the envelope given to him. - Why didn't you say who you are? - And Denisov with a smile, turning around, held out his hand to the officer.
This officer was Petya Rostov.
Throughout the journey, Petya prepared himself for how he, like a big man and an officer, would behave with Denisov without hinting at his previous acquaintance. But as soon as Denisov smiled at him, Petya immediately beamed, blushed with joy and, forgetting the prepared formality, began to talk about how he drove past the French, and how glad he was that he had been given such an assignment, and that he was already in battle near Vyazma, and that one hussar distinguished himself there.
“Well, I’m the hell to see you,” Denisov interrupted him, and his face took on a worried expression again.
- Mikhail Feoklitych, - he turned to the esaul, - this is again from a German. He is "and he is." - And Denisov told the esaul that the content of the paper brought now consisted of a repeated demand from the German general to join the attack on the transport. - If we do not take him, they will benefit from under our noses. "Wow," he concluded.
While Denisov was talking with the esaul, Petya, embarrassed by Denisov's cold tone and assuming that the reason for this tone was the position of his pantaloons so that no one would notice it, under his greatcoat he straightened his fluffy pantaloons, trying to look as belligerent as possible.
- Will there be any order from your honor? - he said to Denisov, putting his hand to the visor and again returning to the game of adjutant and general, for which he was prepared, - or should I remain with your honor?
- Orders? .. - said Denisov thoughtfully. - Yes, can you stay until tomorrow?
- Oh, please ... Can I stay with you? - Petya cried out.
- But how exactly are you ordered from the geneg "ala - now veg" to nourish? - asked Denisov. Petya blushed.
- He didn’t order anything. I think it is possible? He said questioningly.
- Well, okay, - said Denisov. And, turning to his subordinates, he made orders that the party should go to the resting place designated by the guardhouse in the forest and that the officer on a Kyrgyz horse (this officer served as an adjutant) would go to look for Dolokhov, find out where he was and whether he would come in the evening ... Denisov himself with the esaul and Petya intended to drive up to the edge of the forest, which overlooked Shamshev, in order to look at the location of the French, at which the tomorrow's attack was to be directed.

HERO OF OUR TIME

(Roman, 1839-1840; published in a separate edition without a foreword - 1840; 2nd edition with a foreword - 1841)

Pechorin Grigory Alexandrovich - the main character of the novel, by its type associated with the characters of the psychological novels of R. Chateaubriand ("Rene, or the Consequences of Passions"), B. Constant ("Adolphe"), E. Senancourt ("Oberman"), A. de Musset ("Confession of the Son of the Century"), the unfinished novel by N. M. Karamzin "A Knight of Our Time" and the novel in verse by A. Pushkin "Eugene Onegin" (the origin of the surname "Pechorin" from the name of the Pechora River, as well as the surname "Onegin" - from the name of the Onega river, noted by V.G.Belinsky). The history of his soul is the content of the work. This task is directly defined in the "Preface" to the "Pechorin Journal". The story of the disenchanted and dying Pechorin soul is set forth in the hero's confessional notes with all the mercilessness of introspection; being both the author and the hero of the "magazine", P. fearlessly speaks about his ideal impulses, and about the dark sides of his soul, and about the contradictions of consciousness. But this is not enough to create a three-dimensional image; Lermontov introduces into the narrative other storytellers, not of the "Pechorin" type - Maxim Maksimych, an itinerant officer. Finally, in Pechorin's diary, other reviews are given about him: Vera, Princess Mary, Grushnitsky, Doctor Werner. All descriptions of the hero's appearance are also aimed at displaying the soul (through the face, eyes, figure and details of clothing). Lermontov is not ironic about his hero; but the very type of Pechorin's personality, which arose at a certain time and in certain circumstances, is ironic. This sets the distance between the author and the hero; Pechorin is by no means Lermontov's alter ego.

The history of P.'s soul is not presented consistently chronologically (the chronology is just fundamentally shifted), but is revealed through a chain of episodes, adventures; the novel is constructed as a cycle of stories. The plot is closed by a circular composition: the action begins in the fortress (the story "Bela"), and ends in the fortress (the story "The Fatalist"). Such a composition is characteristic of a romantic poem: the reader's attention is focused not on the external dynamics of events, but on the character of the hero, who and does not find a worthy goal in life, returning to the starting point of his moral quest. Symbolically - from fortress to fortress.

P.'s character is set from the very beginning and remains unchanged; spiritually he does not grow, but from episode to episode the reader plunges deeper and deeper into the psychology of the hero, whose inner appearance, as it were, has no bottom, is fundamentally inexhaustible. This is the story of the Pechorin soul, its mystery, strangeness and attractiveness. Equal to itself, the soul does not lend itself to measurement, does not know the limits of self-deepening and has no prospects for development. Therefore, P. constantly experiences "boredom", dissatisfaction, feels the impersonal power of fate over himself, which sets the limit for his mental activity, leads him from catastrophe to a catastrophe that threatens both the hero himself ("Taman") and other characters ("Bela" , "Princess Mary"). P. himself seems to be a demonic creature, an evil instrument of unearthly will, a victim of her curse. Therefore, the "metaphysical" self-awareness of the hero, his human qualities are more important for Lermontov than the "social registration" of P .; he acts not as a nobleman, a secular person, an officer, but as a person in general.

Feeling life as a banality, P. nevertheless hopes every time that another love adventure will refresh his feelings and enrich his mind. But the corroding, skeptical mind P. destroys the immediacy of feeling. Love for the mountain woman Bela and Vera is mutual, but short-lived; falling in love with the "undine" remains unanswered, and Princess Mary P. who is in love with him does not himself. In the end, power over a woman turns out to be more important to him than the sincerity of feelings. Love turns into a game directed by reason, and ultimately - into a game with the destinies of women who must sacrifice themselves, experience "devotion and fear" and thus provide "food for our pride." The hero is also ready to sacrifice himself for the sake of women (he embarks on a dangerous adventure for his life in Taman, shoots with Grushnitsky, defending Mary's honor, risking, captures a Cossack), but refuses to sacrifice his freedom for the sake of someone else's happiness. For the same reason, He is incapable of friendship. Werner P. is just a buddy who keeps his distance in a relationship. He lets Maxim Maksimych feel his foreignness, avoiding friendly hugs. So P. involuntarily, unconsciously becomes an egoist.

Free will, growing into individualism, serves for P. as a principle of life behavior. She attracts the hero to new and new impressions, makes P. risk himself, plunge into self-reflection; she singles out P. from the environment, informs his personality and character of scale. And she also dissipates P.'s enormous mental potential, provokes him to the thought of death, which can break the vicious circle in which the hero is locked. Only P.'s intransigence with himself, with its share in the present, gives rebellion, restlessness and significance to his personality. The novel tells about a new attempt to find food for the soul - P. goes to the East; but Lermontov makes it clear that in Russia his hero is doomed to the previous state, and a trip to exotic, unknown countries is also imaginary, because P. cannot escape from himself. Sudden death relieves him of torment.