The scene of the meeting between Pechorin and Princess Mary (analysis). Episode analysis. Mary's last meeting with Pechorin (M. Yu. Lermontov, "Hero of Our Time") methodological development in literature (grade 9) on the topic Meeting of Pechorin and Mary briefly

Pechorin and Vera are heroes with whom he is associated love line in the novel by M. Yu. Lermontov "A Hero of Our Time". Pechorin's attitude to Vera most fully reveals the personality of the central character and his attitude towards women in general.

The beginning of a relationship

Vera and Gregory met before the story. The author does not describe in detail what happened before, however, he says that the relationship between Pechorin and Vera was filled with passion. From the conversation of the heroes it is clear that they met when Vera was married. The heroine confesses that Pechorin brought her only misfortune: "Since we know each other, you have given me nothing but suffering." He only tormented her with "empty doubts and feigned coldness."

Meeting of heroes

Pechorin learns that a woman has arrived in the Caucasus with a mole on her cheek. He immediately understands that this is Vera. The news of her appearance made Pechorin think about his true emotions: “Why is she here? And is she? And why do I think it is her?

And why am I even so sure of this? Are there few women with moles on their cheeks? "

Grigory Alexandrovich meets with Vera, and their feelings light up with renewed vigor. The heroes are seen in secret from everyone, because Vera is married to a man whom she does not love, but respects.

Vera tells Pechorin that she loved him and still loves him: “You know that I am your slave; I have never been able to resist you. "

As a result, Vera's husband learns about the relationship between Pechorin and Vera, a quarrel occurs between him and his wife. However, Vera does not even remember what they said, what she answered. Vera says that perhaps she told him that she still loves Pechorin.

All this makes Vera's husband decide to leave Kislovodsk. Vera writes a farewell letter to Pechorin and leaves. In the letter, the heroine confesses to Pechorin that she will never again love anyone else, because her soul "drained" all "her treasures, her tears and hopes" on him.

Lyubov Pechorina

Pechorin confesses his feelings to Werner: "I recognize in your portrait one woman whom I loved in the old days ...".

Faith in Pechorin's life played a huge role, because only she was able to understand the real essence of the hero: "This is one woman who understood me completely, with all my minor weaknesses, bad passions." That is why his attitude towards her is not like love affairs with other women. We can say that Vera was the only woman whom Pechorin loved in his life.

Although Vera said that Pechorin "loved her as a property, as a source of joys, anxieties and sorrows, replacing mutually, without which life is boring and monotonous," he cannot live without her love. He wonders why she does not want to see him, because "love is like fire - it goes out without food."

When Vera leaves, he tries to catch up with her and drives his horse to death. This suggests that Faith was of great importance to him. This is not a short-term romance, but a long feeling.

After parting, the protagonist of the novel "A Hero of Our Time" realizes that he has lost his happiness, that her "bitter farewell kiss" will not be able to bring joy, because then it will be even more painful for them to part. Pechorin is sincerely experiencing the tragic ending of the relationship. However, many of his actions in relation to Vera speak of his selfishness and pride. The hero could not build a relationship with the woman who loved him, because he is alone in the whole world, and he understood this. Relationship with Vera was the past for him, with which he was destined to part.

This article, which will help you write an essay on the topic "Pechorin and Vera", will examine in detail the history of the relationship between the characters in the novel "A Hero of Our Time".

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“I shook her hand twice ... the second time she pulled it out without saying a word.

“I’ll sleep badly tonight,” she said to me when the mazurka was over.

- This is the fault of the beggar Pear.

- Oh no! - And her face. it became so thoughtful, so sad that I promised myself that evening I would certainly kiss her hand.

They began to disperse. Sitting the princess into the carriage, I quickly pressed her little hand to my lips. It was dark and no one could see it.

I returned to the hall very pleased with myself. "

In this scene, as in a drop of water, Pechorin's entire plan for Princess Mary and Grushnitsky was reflected. Here, the flying psychologism of M. Yu. Lermontov himself was splendidly expressed. Each phrase, in spite of their outward lack of content, implies a whole line of thought and hidden desires. Before our eyes, there is an interweaving of secular play with real feelings. Pechorin directs the thoughts and feelings of the princess "from the opposite", forcing her to first pull out her hand, and then deny her words. With this, he disguises his own leadership of events, recognizes the extent of the princess's immersion in the game he proposed and emphasizes, as undesirable, the name of Grushnitsky. At the same time, it is completely unimportant that the princess did not agree with his statement, it was important to indirectly point out the rivalry between Pechorin and Grushnitsky, to convince the girl at the level of almost NLP programming that Pechorin actually joined the struggle for her heart.

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Pechorin's love for Vera is a great and sincere feeling. The realization that he is losing Faith forever causes an irresistible desire to keep "lost happiness." Pechorin's sincere impulse, his excitement, forcing the hero to drive the horse madly, determines the nature of the narrative. Everything here is movement! Pechorin is in a hurry, worried, he is not up to the pictures sweeping before his gaze, he does not write about them, because he does not notice the surrounding nature. One thought possesses him: to catch up with Vera by all means. The choice of words and the nature of the sentences expresses this desire. Pechorin acts, moves and does not describe anything, and therefore there are no adjective definitions in the text, but it is saturated with verbs as much as possible (there are thirteen verbs for five sentences).
Since the hero has no time to think, the general syntactic structure of the passage being analyzed turns out to be natural: simple and laconic sentences, often interrupted by dots, as if Pechorin, in a hurry, does not have time to think out, finish the thought. The emotionality of the hero determines the emotionality of intonations; many sentences end with exclamation marks. There are repetitions that emphasize the power of Pechorin's feelings: "one minute, one more minute to see her ...", "... Faith has become more dear to me than anything in the world, dearer than life, honor, happiness." Emotionality manifests itself not only in exclamation intonations, but also in the selection of words. Most of them denote human feelings and experiences. These are the nouns "impatience", "anxiety", "despair", "happiness" and the verbs "cursed", "cried", "laughed", "rode, gasping."
The expressiveness of this passage is great, although there are almost no epithets, metaphors, comparisons, except for a very convincing and weighty metaphorical comparison: "The thought ... hit me in the heart with a hammer." The description of the race, the hero's despair, his tears is one of the most exciting passages in the story. And how much this scene means for understanding Pechorin! Not a cold and calculating egoist, not a skeptic who is indifferent to himself and others, but a living, deeply feeling, endlessly suffering from loneliness and the impossibility of keeping happiness - such is the hero here.
The episode of farewell to Mary is also important for understanding Pechorin. It is often viewed incorrectly, believing that here the hero consistently brings a cruel game to the end, enjoys the opportunity to torment his victim once again. Indeed, Pechorin says merciless words to Mary, explains himself "frankly and rudely." But, if you think about it, would it have been better for Mary if, not counting the possibility of getting married, he had left the girl in doubt as to whether she was loved. In this case, Mary would have been much more difficult to overcome her love for Pechorin, because he would have remained in her eyes a mystery, a noble hero who stood up for her honor, but for some unknown reason refused her hand. A hard truth is more likely to heal her than a good lie. Maybe Pechorin understands this? His words are hardly accidental: “You see, I play the most miserable and disgusting role in your eyes, and even admit it; that's all I can do for you. " Is it possible to treat with full faith the hero's phrase: “Princess ... you know,. that I was laughing at you! .. "
After all, he laughed at Grushnitsky, but in his relationship with Mary there was a deliberate game, often captivating Pechorin himself, but not a mockery. Contradicting this external cruelty is the feeling of pity and excitement that seized Pechorin when He saw the pale, emaciated Mary. “… Another minute, and I would have fallen at her feet,” the hero writes.

... Princess Mary.)

Lermontov. Princess Mary. Feature film, 1955

... Our conversation began with backbiting: I began to sort out our acquaintances who were present and absent, at first I showed their funny, and then their bad sides. My gall was agitated. I began jokingly - and ended with genuine anger. At first it amused her, and then it frightened her.

- You are a dangerous person! - she said to me, - I would rather like to be caught in the forest under the knife of a murderer than on your tongue ... I ask you not jokingly: when you decide to speak ill of me, take a knife and stab me, - I think this is it won't be very difficult for you.

- Do I look like a killer? ..

- You are worse ...

I thought for a minute and then said, assuming a deeply moved air:

- Yes, this has been my fate since childhood. Everyone read on my face the signs of bad feelings that 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 vindictive; 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. My colorless youth passed in the struggle with myself and the light; my best feelings, fearing ridicule, I buried in the depths of my heart: they died there. I spoke the truth - they did not believe me: I began to deceive; Having learned well the light and springs of society, I became skilled in the science of life and saw how others without art were happy, using the gift of those benefits that I so tirelessly sought. And then despair was born in my chest - not that despair that is cured with the barrel of a gun, but cold, powerless despair, covered with courtesy and a good-natured smile. I became a moral cripple: one half of my soul did not exist, it dried up, evaporated, died, I cut it off and abandoned it, while the other moved and lived at the service of everyone, and no one noticed this, because no one knew about the existence of the deceased her half; but now you have awakened in me the memory of her, and I read you her epitaph. To many, all epitaphs in general seem ridiculous, but I don’t, especially when I remember what lies beneath them. However, I am not asking you to share my opinion: if my trick seems ridiculous to you, please laugh: I warn you that this will not upset me in the least.

At that moment I met her eyes: tears ran in them; her hand, resting on mine, trembled; the cheeks were flushed; she felt sorry for me! Compassion - a feeling that all women submit so easily, let its claws into her inexperienced heart. During the entire walk she was absent-minded, did not flirt with anyone - and this is a great sign!

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Episode analysis.

Mary's last meeting with Pechorin (M. Yu. Lermontov, "A Hero of Our Time")

An episode in which both literary hero meet in last time, begins with the words: "... I went to the princess to say goodbye ...", and ends with the following sentence: "I thanked, bowed respectfully and left."

This passage is extremely important for understanding the author's intention. The main character－ Grigory Alexandrovich Pechorin－ opens to the reader in a slightly different light than, for example, in the short story "Bela" ...

So, in this episode－ two: Princess Mary and Pechorin. (The third character－ old princess Ligovskaya－ “Participates” only at the beginning of the passage we have chosen, and her speech, addressed to the main character, serves as proof of Pechorin's nobility: “－ Listen, Monsieur Pechorin! I think you are a noble person ... ”And although this heroine－ the character is secondary, it is important: thanks to the assessment of the wise princess by life experience, you believe that she is not mistaken).

What are the main characters in the episode? Princess Mary－ a young, inexperienced girl who has fallen in love with a secular seducer; Pechorin, a young, but already fed up with salon evenings and coquettish women officer, destroying other people's destinies out of boredom.

The narration is in the first person, and this author's technique allows the reader to “see”, feel the state of the protagonist: “Five minutes have passed; my heart was beating strongly, but my thoughts were calm, my head was cold; no matter how I looked in my chest for even a spark of love for dear Mary ... "Touching description of the girl's appearance given by the hero:" ... her big eyes, filled with inexplicable sadness, they seemed to be looking for something like hope in mine; her pale lips tried in vain to smile; her gentle hands, folded in her lap, were so thin and transparent that I felt sorry for her. "

Pechorin, with his characteristic directness, immediately puts all the dots on the "i" in his explanation with Mary: "... you know that I laughed at you? .. You must despise me." (He is deliberately cruel to the girl so that she does not even have the ghost of hope for reciprocity; he is like a surgeon who amputates a leg or arm so that the entire body does not become infected). But, speaking such terrible words, he himself is in excitement and confusion: “It was becoming unbearable: another minute, and I would have fallen at her feet ...” This is a noble act, despite its seeming cruelty (how can you not remember the “rebuff” Onegin Tatiana?) The hero is not afraid to slander himself (“... you see, I play the most pitiful and disgusting role in your eyes ...”) You can be absolutely sure that he is committing violence against himself! ..

Pechorin is amazing, wonderful in this episode, how much this person can see and feel! "She turned towards me, pale as marble, only her eyes sparkled wonderfully ..."

Mary is getting out of the unbearably painful situation for her with dignity. "I hate you...- she said."

This episode complements the portrait of the protagonist, proving that he is capable of deep feelings and noble deeds.

On the subject: methodological developments, presentations and notes

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