What is the contradictory character of Pechorin? The character of Grigory Pechorin in the novel "A Hero of Our Time": positive and negative features, pros and cons Extreme inconsistency in the character and behavior of Pechorin

You-take-only ONE of the proposed essay topics (2.1-2.4). In the answer sheet, indicate the number of the topic you have chosen, and then write an essay in the amount of at least 200 words (if the amount of the essay is less than 150 words, then it is estimated at 0 points).

Lean on the author's position (in the essay on lyrics, take into account the author's intentions), formulate your point of view. Argument your theses based on literary works (in an essay on lyrics, you must analyze at least two verses-ho-tvo-re-ny). Use theo-re-tee-co-whether-te-ra-tour concepts to analyze pro-of-ve-de-tion. Think over the composition of co-chi-non-nia. Write the essay clearly and pars-bor-chi-in, observing the norms of speech.

2.1. What is the dual nature of Pe-cho-ri-na? (According to the novel by M. Yu. Ler-mon-to-va “The Hero of Our Time”).

2.2. How is the theme of creativity revealed in Russian poetry of the second half of the 20th century? (On the example of 2-3 poems according to your you-bo-ru).

2.3. What moral issues are reflected in the fables of I. A. Kry-lo-va? (On the example of 2-3 fables according to your choice).

2.4. What problems does the prose of A.P. Che-ho-va respond to? (On the example of one of the works according to your choice).

Clear-no-no.

Com-men-ta-rii to co-chi-no-ni-yam

2.1. What is the key to the duality of na-tu-ry Pe-cho-ri-na? (According to the ro-ma-nu M.Yu. Ler-mon-to-va “Hero of our time”).

Ha-rak-ter Pe-cho-ri-na-women and pro-ti-vo-re-chiv. The hero of the ro-ma-na speaks about himself: “There are two people in me: one lives in the full sense of the word, the other thinks and judges him ... » How-to-are you at this time-two-en-no-sti? “I spoke the truth - don’t believe me: I began to de-ma-ny-vat; having learned well the light and springs of society, I became an is-ku-sen in the science of life ... ”- admits Pe-cho-rin. He learned to be secretive, evil-memorable, bile, che-hundred-loving, became, in his words, moral ka-le-koy. Pe-cho-rin - ego-ist. Still push-kin-sko-go One-gi-na Be-lin-sky on-zy-val “stra-da-y-schim ego-and-stoma” and “ego-and-stom in-not-in- le". The same can be said about Pe-cho-ri-ne. The novel "A Hero of Our Time" became a continuation of the theme of "superfluous people."

And yet Pe-cho-rin - na-tu-ra, bo-ga-oda-ren-naya. He has an ana-li-ti-che mind, his assessments of people and steps are very accurate; he has a critical relationship not only to others, but also to himself. His diary-nickname is nothing more than sa-mo-raz-about-la-che-nie. He is on-de-len with a hot-hearted, able to deeply feel (Bela’s death, date with Vera) and strongly re-re- live, although you try to hide the soul-s-pe-re-zhi-va-niya under the mask of equal-no-soul-shiya. Equal-but-soul-shie, callousness is a mask of self-for-shchi-you. Still, pe-cho-rin is still a man-of-a-le-ve, strong, active, in his chest the “life of power” is dormant, he able to act. But all his actions carry not a positive, but a negative charge, all his activities are right-le-na zi-da-nie, but on the raz-ru-she-nie.

2.2. How is the theme of creativity in the Russian e-zia of the second-lo-vin-na of the 20th century? (On example 2–3, sti-ho-your-re-ny according to yours you-bo-ru).

To be in it means the same

If the truth of life is not broken,

Rub yourself on tender skin,

Blood-view of feelings to caress other people's souls.

S.A. Yesenin.

This means: the poet must dis-cover the truth of life, co-re-re-live, co-suffer, go-to-clique in the hearts of chi-ta -te-lei, listen-sha-te-lei. We-p-ta-em-sya do-say it on the creation of this second-of-the-lo-vine of the 20th century. In the se-re-di-not of the 60s of the 20th century, from-four-whether-elk-there-was-there-the-power of the pre-having-storing-thread about-vet-shav-shu -ta-li-tar-nuyu si-ste-mu. But this could no longer affect the life of li-te-ra-tu-ra with its creative-che-ski-mi about-re-te-ni-i-mi and hu-do-same-stven- us-mi in-is-ka-mi. “From-te-pel” is a new li-te-ra-tour-noe movement of the liberation of god-de-niya from dogmas, from la-truth-dy. One of the pre-hundred-vi-te-lei of this pe-ri-o-yes was An-drey Voz-not-sen-sky.

In the verse "Goya" (1959), the image of hu-doge-no-ka is-la-is-sya symbol-in-scrap you-with-a-lo-eternal-no-sti , and the voice of Goya is the voice of anger against the horrors of war, against the atrocities of re-action.

Wars, cities, go-le-ni

In the snow forty first year,

I am hunger

Old-fashioned women ...

The poem "Ma-ste-ra" immediately you-dvi-nu-la Voz-not-sen-sko-go in a row of popular and not-or-di-nar-ny auto-to- ditch. This poem is about-nick-well-that with the idea of ​​immortality of real-ling-no-th-art. Nothing has power over him, but even merciless time.

Hu-dog-nick first-born -

All-gda three-bun.

It has the spirit of re-re-in-ro-ta

And forever - rebellion.

You into the walls of mu-ro-wa-li.

Squeeze-ha-whether on co-fear.

Mo-na-hi mo-ra-vya-mi

Play-sa-li on co-fear.

Art-stvo resurrection-cre-sa-lo

From executions and from torture

And it beat like a cre-sa-lo,

O stones of Mo-abi-tov.

The theme of creativity and mastery is always ak-tu-al-na, at all times. In addition, the poem raises the question of power and the creator. They always pro-ti-in-one-to-yat each other. The authorities always see a threat and kra-mo-lu in creativity, trying to strangle the creator. But it is not possible to kill art, it will exist as long as people live.

2.3. What moral questions did they find from the same in the fables of I.A. Kry-lo-va? (On the example of 2-3 fables according to yours, you-bo-ru).

A fable, according to a voice, but a definition of a de-le-tion from a word-va-rya, is “a short story with a different-telling meaning.” For the purpose of speaking differently, bass-but-scribes of different times use-pol-zo-wa-li about animals and even pre-meth. According to the hu-do-s-stven-nym, and sometimes even according to the price-zur-nym co-ob-ra-same-ni-pits, animals in the fable come to replace people in the fable, on -de-len-nye from-del-ny-mi che-lo-ve-che-ski-mi cher-ta-mi: tru-with-stu, brave-ro-stu, kind-ro-toy, mu- femininity and others. -ra, shi-ro-ko is-pol-zo-wa-li in his fables Aesop, Phaedrus, La-fon-ten, Les-sing. Kry-catching on-the-follow-up-to-shaft this tradition with their predecessors. Ivan An-dre-evich Kry-lov believed that it was possible to make a thread in-ro-ki of a person through their ridicule. In his fables, you-laugh-and-va-yut-sya-greed, not-ve-same-stvo, stupidity. But Kry-lov, in comparison with Aesop and La-fon-te-n, does not limit-no-chi-va-et-sya only pro-sta-mi al-le-go-ri- i-mi. The images of animals in Kry-lo-va play a more important role - they carry not only separate features, but also whole characters -ry. For ana-li-za, you can take fables: “Vo-ro-na and li-si-tsa”, “De-mya-no-va ear”, “Mar-tysh-ka and glasses” and others.

2.4. What pro-ble-we from-cli-ka-et-sya prose A.P. Che-ho-wa? (On the example of one of the pro-of-ve-de-ny according to yours, you-bo-ru).

The ability to show the small in the big, co-che-ta-ing humor with sar-kaz-mom - the main pri-e-we, by means of some in races -say-zah Che-ho-va dis-roofs-va-ut-sya vulgarity and ob-va-tel-schi-na, capable of for-gu-beating even smart ones, ob-ra-zo -van-ny people ... He you-sme-and-va-et that-post, demon-cult-tu-rye, vulgarity, common-va-tel-shchi-well, career-rism, com-feels-to “little people”.

Cannot leave equal-but-soul-nym and co-time-men-no-go chi-ta-te-la is-to-riya doc-to-ra Star-tse-va from ras-ska-za "Ionych". Moreover, pro-ble-ma without-du-hov-no-sti ak-tu-al-na in our time is possible-but-once-more-more than in time-on Che -ho-wa.

The life of Dmitry Star-tse-va windows-cha-tel-but o-o-o-o-she-on and lunch-not-on, he is for-a-wife-to-drinking, he has nie and two houses in the city, but he doesn’t stop there, he’s happy to recall about b-ma-ki, some-rye by ve-che-rams to-a-hundred-valley from kar-ma-nov and with b-go-go-ve-ni-em re-re-bi-ral them. Star-tsev worked all his life, but de-I-tel-ness, devoid of purpose, oka-zy-va-et-sya pa-lip-noy. And we see how, as a result of those mornings, you made sense, the purpose of life is raz-ru-sha-e-sya personality. Gradually, Dr. Startsev turned into Jonah-cha. Life path on this completed ...

In his pro-of-ve-de-ni-yah, Anton Pav-l-vich Chekhov goes to chi-ta-te-lyam with a call not to give-yes-vat- Xia to the influence of the common-va-tel-environment, co-opposing-to-stand-to-staff, not to betray eternal ideas-a-ly and people -bov, keep the human in yourself.

The image of Pechorin

(Based on the novel by M.Yu. Lermontov "A Hero of Our Time")

Sadly I look at our generation,

His future is either empty or dark.

M. Lermontov

"A Hero of Our Time" is a work created in the post-Decembrist era. The novel raises the question of the fate of an outstanding personality in an era of stagnation, of the hopelessness of the position of the best young people from the nobility. In the image of Pechorin, Lermontov embodied the typical features inherent in the younger generation of that time. In the words of the author himself, “this is a portrait made up of the vices of our entire generation, in their full development.” Pechorin is a strong, bright and at the same time controversial and tragic personality.

The rich forces of Pechorin cannot find any use for themselves. In his diary he writes: "Why did I live? For what purpose was I born? It’s true, it existed, and it’s true, I had a great destination, because I feel immense strength in my soul ... But I didn’t guess this destination, I was carried away by the lures of empty and ungrateful passions, I came out of their crucible hard and cold, like iron, but lost forever the ardor of noble aspirations - the best light of life. Pechorin did not see the goal, did not find a use for himself. The old was alien to him, but the new was unknown. Having lost the meaning in life, the hero became hardened, became callous, selfish. This inconsistency of Pechorin is revealed in the novel, revealing, according to Lermontov's definition, the "disease" of the generation of his time.

The structure of the novel is unique. Lermontov deliberately violated chronological order so that the reader's attention shifts from the events to the inner world of the characters, to the world of feelings and experiences. The writer first makes it possible to find out the opinion of other people about Pechorin, and then what this young nobleman thinks about himself.

The character of Pechorin and all his behavior is extremely contradictory. This is clearly reflected already in his appearance, reflecting, according to Lermontov, the inner appearance of a person. Drawing a portrait of Pechorin, the author emphasizes the oddities of his hero. Pechorin's eyes "didn't laugh when he laughed". Gait “she was careless and lazy, but I noticed that he did not wave his arms - a sure sign of some secretiveness of character”. On the one hand, at Pechorin " strong build", and on the other - "nervous weakness." Pechorin is about 30 years old, and "there is something childish in his smile."

Maxim Maksimych was also amazed at Pechorin's oddities: “In the rain, in the cold all day hunting; everyone will get cold, tired, but nothing to him. And another time he sits in his room, the wind smells, he assures that he has caught a cold; the shutter will knock, he will shudder and turn pale, and in my presence he went to the boar one on one ... ". The story with Bela also remains incomprehensible to Maxim Maksimych - Pechorin's indifference, it seemed, with such a strong recent love. Pechorin steals the girl he likes, not thinking about the actions that may follow this act. He sincerely believes that he is in love with "maiden of the mountains" that this love will become a saving bridge through which the hero will be able to move into a new life for him, full of meaning: “When I saw Bela in my house, when for the first time, holding her on my knees, kissed her black curls, I, a fool, thought that she was an angel sent to me by compassionate fate ...” But soon Grigory Alexandrovich realizes the futility of hopes: “I was wrong again: the love of a savage few better than love noble lady" he confesses to Maksim Maksimych.

While still young, Pechorin acutely feels his doom, which is probably why the fearless Pechorin is frightened by the sound of the shutters, although one hunted a wild boar, he is terrified of a cold. Doom developed in Pechorin during the period of life in the capital. The result of complete disappointment in everything was "nervous weakness" ... Life in the Caucasus did not give him spiritual satisfaction, did not help him find the meaning of life. Pechorin lives without a goal, without hope, without love. He is tired of everything, the world has become boring, he despises even himself: “ Maybe I'll die somewhere on the road. Well, to die is to die. The loss to the world is small; Yes, and I’m pretty bored myself.”(What hopelessness emanates from these words, what tragedy is felt from a life wasted in vain.) He travels in the hope of somehow passing away a century or finding his untimely end. To the question of Maxim Maksimych: "When will you be back?" - Pechorin made a sign with his hand, which could be translated as follows: hardly! And why?..” A bitter end to life.

The contradictions in Pechorin's nature also affect his attitude towards women. He himself explains his attention to women, his desire to achieve their love by the need of his ambition, which, according to his definition, “... is nothing else than a thirst for power, but my first pleasure, he says further, is to subordinate everything that surrounds me to my will: to arouse feelings of love, devotion and fear for myself - isn’t this the first sign and the greatest triumph of power?

But Pechorin is not such a heartless egoist. He is capable of emotional outbursts. This is evidenced by his attitude towards Vera. Having received it last letter, Pechorin, like crazy, jumped out onto the porch, jumped on his Circassian ... and set off at full speed, on the way to Pyatigorsk ... “With the possibility of losing her forever,” he writes, “Vera has become dearer to me than anything in the world, dearer than life, honor, happiness!” Left without a horse in the steppe, he "fell on the wet grass and cried like a child."

On the one hand, Pechorin is a skeptic, a disappointed person who lives "out of curiosity", on the other hand, he has a great thirst for life and activity. But the most terrible contradiction: "the immense forces of the soul" - and petty, unworthy deeds of Pechorin. According to Belinsky, "he is madly chasing life," but it all comes down to petty and insignificant goals: to find out the secret of the smugglers, to make Princess Mary and Bela fall in love with themselves, to defeat Grushnitsky. So, in the hands of fate, Pechorin turns into a tool of evil: smugglers run away to another place, leaving an old woman and a poor blind boy to their fate; Bela's father dies and Bela herself; Azamat takes the path of crime; kills innocent people Kazbich; Grushnitsky dies; "broken" heart of Princess Mary; Maksim Maksimych is offended. Pechorin strives to “love the whole world” - and brings people only evil and misfortune. However, this does not make him happy, it is clear from the hero’s diary that we have a person with a suffering soul.

Pechorin is self-critical. He admits that there are two people in him: one lives in the full sense of the word, the other thinks and judges him. Pechorin himself passes judgment on himself: “I was ready to love the whole world - no one understood me: and I learned to hate. My colorless youth passed in a struggle with myself and the world: my best feelings, fearing ridicule, I buried in the depths of my heart: they died there ... I became a moral cripple ... ". With a bitter feeling, he regards himself as "moral cripple", which one "dried up, evaporated, died" the better half of the soul. Pechorin, not sparing himself, reveals the reasons for his egoism: “How many times have I played the role of an ax in the hands of fate! Like an instrument of execution, I fell on the heads of doomed victims… My love brought happiness to no one, because I did not sacrifice anything for those whom I loved…” Pechorin comprehends and condemns his actions. He fights not only with others, but above all with himself. But this internal struggle also contains the strength of Pechorin's personality, without it he would not have been such an extraordinary character, the struggle is the need of his nature.

Pechorin is a richly gifted, bright man. He rushes to action, constantly feeling the need to find a sphere of application for his forces, but he does not find it. And wherever he appears, he brings people one grief: Who is to blame for the fact that Pechorin has become an "extra person"? Pechorin himself answers this question as follows: "My soul is corrupted by the light", that is, that secular society, according to whose laws he lived and from which he could not escape. A product of society, Pechorin is at the same time a renegade, a seeker, devoid of soil, therefore he is not subject to either the traditions or the moral norms of the environment from which he came out, and the one into which he falls. What he is looking for is not there. By placing the hero in different conditions, in different environments, Lermontov wants to show that they are alien to Pechorin, that he has no place in life, no matter what situation he finds himself in. He, like Lermontov's "Sail", is attracted to unusual anxieties and dangers, as he is full of effective energy. But the “wonderful world of anxieties and battles”, which another Lermontov hero Mtsyri so aspired to, does not lie in the everyday life of the “water society” where Pechorin ends up, he is not there. (chapter "Princess Mary")

Among the novel's many problems is the relationship between "natural" and "civilized" man. The contrast between Pechorin and the highlanders helps us understand some of his character traits. Highlanders (Bela, Kazbich) are whole natures, as if monolithic, and this is what attracts Pechorin. Unlike them, he is torn apart by passions and contradictions, although by the indomitability of his energy he looks like "children of nature."

Does Pechorin have a goal? Yes, he is looking for happiness, meaning "rich pride" by it. He probably means fame, that is, recognition by society of his value and the value of his actions. But his deeds are small, and his goals are accidental and insignificant.

So, Grigory Aleksandrovich Pechorin is an extremely controversial personality. We are repelled by Pechorin's indifference to people, his inability to true love, to friendship, his individualism and egoism. But we cannot but see that Pechorin is head and shoulders above the people around him, that he is smart, educated, talented, brave, energetic. Pechorin captivates us with a thirst for life, a desire for the best, the ability to critically evaluate one's actions. He is deeply unsympathetic to us by the "pathetic actions", the waste of his strength, by the actions by which he brings suffering to other people, but we see that he himself suffers deeply. Pechorin does not follow the beaten path of secular young people, he serves, but does not curry favor, but, unfortunately, becomes a natural link in the series " extra people". You can treat the hero of the novel differently, condemn him or pity the tormented by society human soul, but one cannot but admire the skill of the great Russian writer, who gave us this image, a psychological portrait of the hero of his time.

Cruel times make cruel people. The proof of this is main character Lermontov's novel "A Hero of Our Time" Grigory Pechorin, in which the author reproduced, in his words, "a portrait, but not of one person: it is a portrait made up of the vices of our entire generation in their full development." Pechorin is the image of a nobleman of the 1930s, the era of the "gloomy decade", the Nikolaev reaction that followed the defeat of the Decembrist uprising, when any free thought was persecuted and any living feeling was suppressed. Pechorin is the bitter truth about the era of timelessness, in which all the best people of Russia, instead of directing their minds, energy and remarkable forces to achieve a lofty goal, became "moral cripples", since they simply had no goal: there was no time allowed it to be born.

A product of his age, a cold egoist who only causes suffering to everyone - this was Pechorin, and meanwhile we see what a brilliant mind, extraordinary willpower, talent and energy this person has. Pechorin is an outstanding personality, one of the best people of his time, and what: refusing to serve society, in the possibility of which he completely lost faith, not finding an application for his strength, Lermontov's hero wastes his life aimlessly. Pechorin is too deep and original nature to become only a reflective intellectual. Distinguished by independence of mind and strength of character, he cannot stand vulgarity and routine and stands above the environment by far. He wants nothing - no ranks, no titles, no benefits - and he does nothing to succeed. By this alone he stands above his surroundings. And besides, his independence was the only possible form of expression of disagreement with the order of life. There is a protest hidden in this position. Pechorin should not be blamed for inaction, since it is from unwillingness to serve "the king and the fatherland." The tsar is a tyrant who does not tolerate the manifestation of thought and hates freedom, the fatherland is officials who are mired in slander, envy, careerism, idly spending time, pretending to care about the good of the fatherland, but in fact they are indifferent to it.

In his youth, Pechorin was overwhelmed with ideas, hobbies and aspirations. He was sure that he was born into the world for a reason, that he was destined for some important mission, that with his life he would make a significant contribution to the development of the fatherland. But very quickly this confidence passed, over the years the last hopes dissipated, and by the age of thirty there was "one fatigue, as after a night battle with a ghost, and a vague memory full of regrets ...". The hero lives without purpose, without hope, without love. His heart is empty and cold. Life is of no value, he despises it, as well as himself: “Perhaps I’ll die somewhere on the road! Well? These words contain tragedy from a meaninglessly flowing life and bitterness from hopelessness.

Pechorin is smart, resourceful, insightful, but these qualities bring only misfortunes to the people with whom fate brings him together. He took from Kazbich the most precious thing that he had - a horse, made Azamat a homeless abrek, he is guilty of the death of Bela and her father, he disturbed the peace in the soul of Maxim Maksimych, he disturbed peaceful life"honest smugglers". He is selfish, but he suffers from it himself. His behavior deserves condemnation, but one cannot but feel sympathy for him; in the society where he lives, the forces of his rich nature do not find real application. Pechorin seems either a cold egoist, or a deeply suffering person, deprived of a worthy life, the possibility of action, by some evil will. Discord with reality leads the hero to apathy.

Speaking of tragedy outstanding personalities, about the impossibility of finding a use for their forces, the author also shows how detrimental their withdrawal into themselves, remoteness from people.

A strong will and a brilliant mind do not prevent Pechorin from becoming, as he himself puts it, a "moral cripple." Having adopted for himself such life principles as individualism and egoism, Lermontov's hero gradually lost all the best in his character. In the story "Maxim Maksimych" Pechorin is not at all the same as he was in the first stories, in the first days of his appearance in the Caucasus. Now he lacks attention and friendliness, he is possessed by indifference to everything, there is no former activity, striving for sincere impulses, readiness to discover "endless sources of love" in himself. His rich nature is completely empty.

Pechorin is a controversial personality. This is manifested in character, behavior, and attitude to life. He is a skeptic, a frustrated man who lives "out of curiosity", and yet he craves life and activity. And his attitude towards women - isn't the contradictory nature of his nature manifested here? He explains his attention to women only by the need for ambition, which "is nothing more than a thirst for power, and my first pleasure is to subordinate everything that surrounds me to my will: to arouse a feeling of love, devotion and fear - isn't this the first sign of and the greatest triumph of power?" At the same time, having received the last letter from Vera, he, like a madman, strives for Pyatigorsk, saying that she is "more precious than anything in the world for him - more expensive than life, honor, happiness!". Having lost his horse, he even "fell on the wet grass and cried like a child."

Lermontov's hero is inherent in the highest degree of introspection. But it's painful for him. Since Pechorin made himself an object for observation, he almost lost the ability to surrender to direct feeling, to fully feel the joy of living life. Being subjected to analysis, the feeling weakens or goes out altogether. Pechorin himself admits that two people live in his soul: one does things, and the other judges him. This strict judgment on himself does not allow Pechorin to be content with little, deprives him of peace, does not allow him to come to terms with the life that is determined for him by social conditions.

"The tragedy of Pechorin," wrote V. G. Belinsky, "is primarily in the contradiction between the loftiness of nature and the pitifulness of actions." Who is to blame for it? Pechorin himself answers this question as follows: "In my soul is spoiled by light," that is, by the environment, by the society in which he happened to live.

Pechorin's analysis is distinguished by fearlessness and sincerity, the absence of attempts to justify oneself. Sometimes the hero turns out to be more severe to himself than he deserves; sometimes he denies the good impulses and feelings that he is really capable of, and often acts contrary to what he says. This discord is obvious, everyone observed it in the analysis of individual episodes. One can multiply examples proving that Pechorin is inconsistent, that his actions do not always correspond to his words. Everyone does this based on their own observations. Pechorin says that he never sacrificed anything for those he loved. And on June 11, he writes that he was always ready for the sake of a woman “to sacrifice calmness, ambition, life.” He tells Werner that he did not take out a single feeling from the storm of life, and he himself turns out to be able to love and suffer like a young man, which can be judged by his despair after Vera's departure.

Pechorin is lonely in the novel and flaunts his inability to love and friendship, but writes in his diary: “Now I just want to be loved, and then by very few; even it seems to me that one constant affection would be enough for me: a miserable habit of the heart!

"the need to pour out one's thoughts in friendly conversation." He needs someone's closeness, he is tired of loneliness, but admits this only to himself, and even then rarely. Referring himself to the “miserable descendants”, he supposedly should be unable to experience the pleasure “that the soul meets in any struggle with people or with fate,” but proves the opposite by throwing himself unarmed at a drunken, furious Cossack. The whole chain of big and small contradictions is connected with one thing: the actions of the hero do not meet his inner needs, and the main contradiction of his personality appears as a discrepancy between his high cherishing, tenderness and petty deeds. Pechorin himself says; "... my whole life has been only a chain of sad and unfortunate contradictions of heart or mind.

After everyone has seen the hero in action, in a relationship with different people, got acquainted with his reasoning and remarks, they are prepared to understand the image of Pechorin as a whole. Pechorin cannot stand the vulgarity and routine common to the world, and certainly stands above the environment where Lithuanian princesses and dragoon captains thrive.

The selection of epithets characterizing him testifies to the originality of Pechorin's nature. His imagination is “restless”, his heart is “insatiable”, the forces in his soul are “immense”, he believes that his appointment was “high”.

"selfish mediocrity". He cannot live thoughtlessly, the intense work of thought constantly boils in him. There is a lot of courage and strong-willedness in his character. But the correct outcome of his aspirations is not found. Full of a thirst for freedom, independence, he does not want to come to terms with what life gives him - this is one of the main reasons for the charm of Pechorin's personality.

to the struggle, the beauty of giving up small well-being in the name of big, albeit obscure goals. Unfortunately, these aspects of Pechorin's nature have not received real development and application. Instead of great deeds, to which the hero was capable, he boils “in empty action”: “puns on fools, disturbs the hearts of inexperienced young ladies, interferes in other people’s affairs of the heart, asks for quarrels, shows courage in trifles, fights unnecessarily.”

"in proud loneliness". Departure from people devastates even an outstanding nature. The denial of social ties leads a person to a painful consciousness of his uselessness, and the individualism and egoism that appear as a result of this bring deep suffering not only to the hero himself, but to everyone he encounters. Pechorin himself admits that he "unwittingly" "played the miserable role of an executioner or a traitor." For selfishness, individualism, inability to make great and small sacrifices, the author condemns the hero.

Pechorin's gradual loss of the best in his character. From Pechorin’s remarks (in the stories “The Fatalist” and “Princess Mary”) about his life before the Caucasus, we can conclude that in his early youth he was a person who passionately and directly perceived life, a “dreamer” (“In my early youth I was a dreamer ").

“noble impulses”, “constancy of will”. Gradually, the surrounding hypocrisy of secular society and the impossibility or inability to rationally direct the "heat of the soul" taught him to restrain his impulses, they began to seem ridiculous to him, he plunged into himself and lost "the ardor of noble aspirations - best color life." Arriving in the Caucasus, he hoped to get rid of the boredom and longing that gripped him. At first, in the story "Taman", we really see Pechorin's interest in others, excitement (and not boredom) at the thought of the past, an attempt to interfere in an unusual someone else's life. It is characteristic that here the discord of the hero with himself is not yet shown.

In the story “Princess Mary”, Pechorin, finding no other way out of the need to act, plays with the fate of people, but this does not bring him either joy or happiness. The word "boring" is increasingly appearing on the pages of the diary, the feeling of aimlessness of life does not leave the hero, introspection corrodes the soul. However, in the lyrical ending of the story, his rebellious aspirations, the rejection of "quiet joys" again break out. A little time passes, and already quiet joy"- the love of the" savage "- turns out to be Pechorin's last hope. It also collapses, the hero’s life “becomes emptier day by day”, indifference grows, interest in people and the environment is lost, and in the story “Maxim Maksimych” we see a person who only resembles Pechorin, as we saw him in the first story: nervous relaxation, lack of attention and friendliness, indifference to the past, hopelessness - instead of activity, the ability to sincere impulses, readiness to discover "endless sources of love" in oneself. The changes were reflected in the appearance of Pechorin. In his diary (the story "Princess Mary") Pechorin writes that his "eyes are burning"; before the duel, although surrounded by a shadow, they shine "proudly and tirelessly."

Lermontov in his work "A Hero of Our Time" shows Pechorin as a very controversial nature. On the one hand, the character is noble, on the other hand, he likes to make fun of the same Grushnitsky. The man constantly pisses off his comrade with impudent talk about Mary. To the girl herself, the officer, as if by chance, reports that Grushnitsky is just a cadet. And this means that the expectations of the princess do not coincide with reality and she is disappointed in the boyfriend. This is a very low act on the part of Pechorin, in relation to a comrade.

The controversy also occurs when a young man confesses to Dr. Werner that he does not consider him a friend. But in another situation, he tells the man details from his life and even asks to be his second in a duel with Grushnitsky. Thus, he trusts the military doctor with the most important secrets from his biography.

Werner is also aware of Pechorin's relationship with. He knows what the man was doing that evening near the Ligovskys' house, and why he was accused of having affairs with Mary.

Grigory Alexandrovich is not a coward, and on the day of the duel with Grushnitsky he calmly prepares for battle. When his former comrade missed, the man coolly demanded to reload his musket, due to the fact that they forgot to put a bullet in it. But meanwhile, he does not wish death to his "opponent".

Calling Grushnitsky to a duel, he wanted to frighten him first of all. But at the same time, he demanded such conditions that only one should leave the "battlefield". The other, even if he is slightly injured, will surely stumble and fall off the cliff.

Pechorin's character was complex and contradictory in relation to women. He liked Bela, but the man was sad with her. He would marry, but for some reason he was afraid to offend Vera. And the relationship with the woman he loves was not easy. He played a double game when he tried to date both Ligovskaya and Vera, but in the end, he was left alone.

Once Mary confessed her love to him. Not to say that the man was not ready to hear such a thing. On the contrary, he wanted it. However, he did not even show that the words were pleasant to him and there was reciprocity between them. Before that, he opened his soul to the princess. In his story, the man was extremely honest and frank. This gave rise to the confidence in the girl that Pechorin was in love with her and wanted to marry her.

So sometimes a man deceived himself. He searched for happiness for a long time, and when he found it, he refused it. He did not believe in fate, but he was able to discern the sign of death on Vulich's face. He did not want to suffer and love, but every time he threw himself into the “pool with his head” at the sight of a worthy woman.

The man was born to conquer. He proved to himself and to those around him that for him the word “no” does not exist. So he flattered his vanity and pride. But on the other hand, he sometimes hated himself for outright cruelty. The man compared himself to a vampire who feeds on other people's emotions, but at the same time, he despised those who provoke scandals and get involved in conspiracies.

But in the end, such a difficult person as, with a rich "biography", suffers from longing and boredom. What is it, a paradox, or an attempt to justify their irresponsibility?