Pechorin and the “water society”. Composition on the topic: Pechorin and society (the novel "A Hero of Our Time" by M. Yu
"A Hero of Our Time" was conceived by Lermontov as a work of acute social and psychological orientation.
But he could not help touching on the topic of society, which makes the novel social.
"Extra man" as a product of his era
Pechorin is included in the category of "superfluous people" by many literary critics, as is Eugene Onegin. The composition of the book was built in accordance with the goal that Lermontov tried to achieve - to understand the problems of the individual.
In the psychological chapter "Princess Mary", the character of Grigory Pechorin clashes with the "water society". In this story, we see how he relates specifically to this society and the world as a whole.
"Water Society" has become a collective image of typical representatives of the aristocratic circle of nobles. Their actions and whole life reflect the characteristics of that era. The struggle of the individual against the social environment is revealed not only in Pechorin's character traits, but also in the pictures of the life of the "water society", in its specifics, in the description of its members.
Gregory contemptuously and defiantly does not join the society. From the outside, it is easy for him to see how evil the aristocrats are towards each other, how they envy, gossip, and commit meanness. The whole way of life and customs that have developed among the inhabitants of the mineral resort are built on the basis of the history and traditions adopted in that circle.
"Water Society" - a mirror of that time
Almost all visitors to the resort are opposed to the main character, but there are also people who are somewhat akin to him.
Grushnitsky was a distorted portrayal of Pechorin. The fact that Grigory is innate, part of the character, Grushnitsky became just a posing, designed to attract attention, to amaze others. With his desire for romance, he achieves the opposite effect - he becomes just a caricature, a parody of a romantic hero.
Werner in this chapter became the only character compared with Gregory. They are similar in their skeptical attitude towards people, similar in their mind. However, they have many differences. Werner is passive about life, and Pechorin is trying to experience all the pleasures and passions. Before the fight with Grushnitsky, Grigory calmly admires the landscape, and Werner is interested in whether he left a will.
Everybody female images, brought out by Lermontov on the pages of his book, help to reveal the character of the protagonist more deeply and show how he relates to love.
Separately, it is necessary to consider male characters in the "water society" - civil and military. A special group is young people on mineral waters. Before us appear people whose images have already been brought out in their works by Pushkin and Griboyedov. All the same passions boil here - the desire to achieve rank, admiration for money and titles, the same boring dance evenings, idle chatter, boredom and gossip.
Here it does not even look like vices, but like a normal pastime. The only difference with Pushkin and Griboyedov is that Lermontov does not show the high society of the capital, but the provincial nobles, who are trying with all their might to show that they are the same metropolitan beau monde. The author skillfully ironizes, creating images of his characters and their environment.
"Water Society" is not just a random background for the main character. Questions of life, problems of the struggle and friendship of the individual, her relationship with other people have become the priority goal of the author. He seeks to show not a static individual, but a dynamically moving hero experiencing turbulent events.
"Hero of our time" - socially psychological novel, in which the author set himself the task of revealing the inner world of the hero, "exploring the human soul."
Lermontov is a romantic, therefore the problem of personality is the central problem of romanticism in the poet's work. However, the innovation of the "Hero of Our Time" lies in the fact that the conflict between the individual and the surrounding world is resolved using a variety of means, both romantic and realistic.
Pechorin - the main character novel, is a social type. Traditionally, after Onegin, he is placed in the gallery of "superfluous people".
The images of Pechorin and Onegin have a lot in common, ranging from details, character traits, to the situations in which they find themselves. However, the conflict between the individual and society in "A Hero of Our Time" is sharper than in "Eugene Onegin", since Pechorin "chases furiously for life", but does not receive anything from it, and Onegin simply "goes with the flow".
The composition of the novel is subordinated to the main task that the author set himself - the solution of the problem of personality. In Pechorin's journal, the story "Princess Mary" is central, in which the character of the hero is revealed from the inside, that is, Lermontov uses such an artistic technique as confession. All artistic means - portrait, landscape, dialogues, details - are psychological in nature. In the story with the help of expanded figurative system the secret of the character of the hero is revealed.
Lermontov, like many romantics, opposes the individual and society, and he places his hero in different environments, confronts him with different people. We can see this in the stories "Bela", "Taman" and "Princess Mary".
In the psychological story "Princess Mary", Pechorin's personality is opposed to the "water society", the hero's attitude to this society and society in general is shown. "Water Society" is a collective image of representatives of the local and metropolitan nobility, in whose behavior and life the features of the described era can be traced. The conflict of personality and society was embodied not only in revealing the character of the protagonist, but also in depicting the "water society", their life, interests, and entertainment.
Pechorin, with slight contempt, notices the carefully concealed envy of each other, the love of gossip and intrigue. The life and customs of visitors to the Caucasian mineral waters, over which both the author himself and the main character are ironic, are conditioned by history and traditions. The image of the "water society" is also given in parallel with the image of the secular society, which Pechorin mentions and which has been the object of research more than once in the work of Griboyedov and Pushkin.
In general, the entire "water society" is opposed to Pechorin. However, it is still possible to single out heroes who are not only opposed to Pechorin, but also compared with him.
Grushnitsky is a kind of parody of Pechorin. What Pechorin makes up the essence of character, Grushnitsky has a pose designed to produce an effect, an impression on others. Grushnitsky is an anti-romantic hero. His propensity for romanticization has been brought to the point of caricature. He is drawn, often behaves inappropriately to the situation. In everyday life, he is looking for romantic circumstances, and in truly romantic situations he is lost. Grushnitsky's participation in the duel is ignoble, vile, but he cannot refuse it, as he is very proud. There are many external details in his image (overcoat, crutch, lameness, a ring with the date of his acquaintance with Mary). Obviously, the image of Grushnitsky was created not without the influence of Lensky: both are romantics, both are killed in a duel, both are younger than their friend-enemy.
Werner is the only one male image, which is compared with Pechorin, and not opposed. Their similarity is manifested in relations with society, skepticism, wit. But along with common features in their characters, there are many differences. Pechorin is "madly chasing life", while Werner is passive. Werner is a less deep and complex nature than Pechorin. Before the duel, Pechorin admires nature, and Werner asks if he wrote his will. In the appearance of Werner, romantic features are traced, but he is a contradictory nature.
All female images presented in the novel are also subject to the main task - to reveal the image of Pechorin and show his relationship to love. Of all the female images, Princess Mary is most fully depicted. Like Grushnitsky, she is passionate about romanticism, she is young, smart, witty. The purity and naivety of the princess makes Pechorin's egoism even more obvious. The story of Mary's seduction is an occasion for deep introspection and extended internal monologues in Pechorin's diary. In a conversation with Mary, Pechorin talks about his fate (relationships with society, inclinations, oddities of character).
Faith is the most obscure image, incompletely outlined, and given only in hints. This is the only female image that is compared with Pechorin. It is in the relationship with Vera that the tragedy of Pechorin's position is most fully felt, his inability to deeply and truly love: he does not even need Vera. This emphasizes the loneliness of the hero, his inability to have a true feeling, reveals the internal conflict of the hero. Romantic irony illuminates the relationship between Pechorin and Vera: Pechorin drives the horse, trying to catch up with Vera, and then falls asleep with Napoleon at Waterloo.
In addition, Lermontov pays attention to a large number of other, less visible, but also very important for creating more complete picture society, heroes, who, without exception, are subject to the principle of typification, which indicates the realism of the novel. At the same time, the author proceeds from traditional types, relying on the creative experience of his predecessors, Griboyedov and Pushkin.
As soon as Pechorin arrives in Pyatigorsk, he gets acquainted with the customs of the families of the steppe landlords: "... the Petersburg cut of the frock coat misled them, but, soon recognizing army epaulettes, they turned away indignantly."
Immediately we learn about the wives of local chiefs, "mistresses of the waters": "... they pay less attention to their uniforms, they are accustomed in the Caucasus to meet an ardent heart under a numbered button and an educated mind under a white cap."
A special class in the "water society" is made up of men, civilians and military men (Captain Dragunsky, who, by his participation in a duel, resembles Zaretsky). The "water youth" stands out separately. In general, it is difficult to imagine anything new that has not yet been depicted in the works of Griboyedov and Pushkin. The same passion for ranks, servility, the same balls, gossip, idle pastime, emptiness, which dominate not as vices of society, but as elements public life. Everything is the same, only with the difference that there we saw a secular society, and here a provincial one, which is trying with all its might to resemble the capital. Against the background of all this, it is impossible not to note with what irony not only specific images are drawn, but the whole atmosphere.
Thus, the "water society" is not a random theme in the novel. The problem of personality, its relationship with others are the main task of all Lermontov's work. At the same time, he is the successor of the traditions of Russian literature XIX century.
“The Hero of Our Time” is a socio-psychological novel in which the author set himself the task of revealing the inner world of the hero, “exploring the human soul”.
Lermontov is a romantic, therefore the problem of personality is the central problem of romanticism and, of course, the poet's work. However, the innovation of the "Hero of Our Time" lies in the fact that the conflict between the individual and the surrounding world is resolved using a variety of means, both romantic and realistic.
Pechorin is the main character of the novel, is a social
type. Traditionally, after Onegin, he is placed in the gallery of “superfluous people”.
The images of Pechorin and Onegin have a lot in common, ranging from details, character traits, to the situations in which they find themselves. However, the conflict between the individual and society in "A Hero of Our Time" is sharper than in "Eugene Onegin", since Pechorin "chases furiously for life", but does not receive anything from it, and Onegin simply "goes with the flow".
The composition of the novel is subordinated to the main task that the author set himself - the solution to the problem of personality. In Pechorin's journal, the story "Princess Mary" is central, in which the character of the hero is revealed from the inside, that is, Lermontov uses such an artistic device as confession. All artistic means - portrait, landscape, dialogues, details - are psychological in nature.
In the story, with the help of an expanded figurative system, the secret of the character of the hero is revealed.
Lermontov, like many romantics, opposes the individual and society, and he places his hero in different environments, confronts him with different people. We can see this in the stories "Bela", "Taman" and "Princess Mary".
In the psychological story “Princess Mary”, Pechorin’s personality is opposed to the “water society”, the hero’s attitude to this society and society in general is shown. “Water Society” is a collective image of representatives of the local and metropolitan nobility, in whose behavior and life all character traits the era being described. The conflict of personality and society was embodied not only in revealing the character of the protagonist, but also in the image of the “water society”, their life, interests, and entertainment.
Pechorin, with slight contempt, notices the carefully concealed envy of each other, the love of gossip and intrigue. The life and customs of visitors to the Caucasian mineral waters, over which both the author himself and the main character are ironic, are conditioned by history and traditions. The image of a “water society” is also given in parallel with the image of a secular society, which Pechorin mentions and which has been the object of research more than once in the work of Griboyedov and Pushkin.
In general, the entire “water society” is opposed to Pechorin. However, it is still possible to single out heroes who are not only opposed to Pechorin, but also compared with him.
Grushnitsky is a kind of parody of Pechorin. What Pechorin makes up the essence of character, Grushnitsky has a pose designed to produce an effect, an impression on others. Grushnitsky is an anti-romantic hero.
His propensity for romanticization has been brought to the point of caricature. He is drawn, often behaves inappropriately to the situation. In everyday life, he is looking for romantic circumstances, and in truly romantic situations he is lost.
Grushnitsky's participation in the duel is ignoble, vile, but he cannot refuse it, since he is very proud. There are many external details in his image (an overcoat, a crutch, a lameness, a ring with the date of acquaintance and the name of Mary). Obviously, the image of Grushnitsky was created not without the influence of the image of Lensky: both are romantics, both are killed in a duel, both are younger than their friend-enemy.
Werner is the only male image that is compared with Pechorin, and not opposed. Their similarity is manifested in relations with society, skepticism, wit. But along with common features in their characters, there are many differences.
Pechorin is “furiously chasing life”, while Werner is passive. Werner is a less deep and complex nature than Pechorin. Before the duel, Pechorin admires nature, and Werner asks if he wrote his will.
In the appearance of Werner, romantic features are traced, but he is a contradictory nature.
All female images presented in the novel are also subject to the main task - to reveal the image of Pechorin and show his attitude to love.
Of all the female images, Princess Mary is most fully depicted. Like Grushnitsky, she is passionate about romanticism, she is young, smart, witty. The purity and naivety of the princess makes Pechorin's egoism even more obvious.
The story of Mary's seduction is an occasion for deep introspection and extended internal monologues in Pechorin's diary. In a conversation with Mary, Pechorin talks about his fate (relationships with society, inclinations, oddities of character).
Faith is the most obscure image, incompletely outlined, and given only in hints. This is the only female image that is compared with Pechorin. It is in the relationship with Vera that the tragedy of Pechorin's position is most fully felt, his inability to deeply and truly love: he does not even need Vera. This emphasizes the loneliness of the hero, his inability to have a true feeling, reveals the internal conflict of the hero.
Romantic irony illuminates the relationship between Pechorin and Vera: Pechorin drives the horse, trying to catch up with Vera, and then falls asleep with Napoleon at Waterloo.
In addition, Lermontov pays attention to a large number of other, less noticeable, but also very important for creating a more complete picture of society, heroes who, without exception, are subject to the principle of typing, which indicates the realism of the novel. At the same time, the author proceeds from traditional types, relying on the creative experience of his predecessors, Griboedov and Pushkin.
As soon as Pechorin arrives in Pyatigorsk, he gets acquainted with the mores of the families of the steppe landlords: “... the Petersburg cut of the frock coat misled them, but, soon recognizing army epaulettes, they turned away indignantly.”
Immediately we learn about the wives of local chiefs, “mistresses of the waters”: “... they pay less attention to the uniform, they are accustomed in the Caucasus to meet an ardent heart under a numbered button and an educated mind under a white cap.”
A special class in the “water society” is made up of men, civilians and military men (Captain Dragoonsky, who, by his participation in a duel, resembles Zaretsky). The “water youth” stands out separately. In general, it is difficult to imagine anything new that has not yet been depicted in the works of Griboyedov and Pushkin.
The same passion for ranks, servility, the same balls, gossip, idle pastime, emptiness, which dominate not as the vices of society, but as the elements of social life. Everything is the same, only with the difference that there we saw a secular society, and here a provincial one, which is trying with all its might to resemble the capital. Against the background of all this, it is impossible not to note with what irony not only specific images are drawn, but the whole atmosphere.
Thus, the "water society" is not an accidental theme in the novel. The problem of personality, its relationship with others are the main task of all Lermontov's work. At the same time, he is a successor to the traditions of Russian literature of the 19th century,
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- In the novel "A Hero of Our Time" M. Yu. Lermontov portrays Pechorin in a very different social environment: in the Caucasus, among the Circassians; among the officers in the Cossack village; among smugglers in Taman, among high society gathered on the waters in Pyatigorsk. Pechorin in the novel is surrounded by a variety of characters, each of which in its own way sets off the inner appearance of the protagonist. So, Dr. Werner, [...] ...
- Grigory Pechorin is a young man belonging to the generation of the 1830s, a representative of a secular society. His “best” years were spent, in his own words, “in a struggle with himself and the world.” Pechorin is a representative of the thinking youth of his time, he has an undoubted mind and is critical. to yourself and the world. In relations with people, he is cold, arrogant, but he cannot […]
- Epigraph: “For a long time I have been living not with my heart, but with my head ... There are two people in me: one lives in the full sense of the word, the other thinks and judges him.” Mikhail Yuryevich Lermontov in his works touched upon the problems of morality and morality, knowing at the same time that not every reader will understand the true essence of his presentations. A vivid example of disputes and disagreements, misunderstandings with [...] ...
- Friendship in the life of Pechorin “A Hero of Our Time” is a unique work of the Russian classic M. Yu. Lermontov, his first lyric-psychological novel. It does not have a sequence of plot presentation, but all the stories are connected with Grigory Aleksandrovich Pechorin, a mysterious and contradictory man. Concepts such as love and friendship, for the most part, meant nothing to this hero. How is he […]...
M. Yu. Lermontov is a bright representative of the romantic trend in literature, because of this, the problem of the individual and his environment is the key in his works. But the novelty of the novel "A Hero of Our Time" lies in the fact that the clash of the individual and society is represented by different artistic means: not only romantic, but also realistic.
Comparison with the novel by A. S. Pushkin "Eugene Onegin"
Grigory Pechorin is the main character of the work, his image is a certain social type. Like Pushkin's Onegin, he is called "an extra person." In the characters of the two characters, close moments can be traced: small details, some character traits, even the events that happen to them.
But the conflict of the individual with society in "A Hero of Our Time" is more complicated than in Pushkin's novel, since Pechorin is full of life, persistently looking for it, but all attempts are doomed to failure, while Onegin "goes with the flow."
The role of composition in revealing the problem of personality and society
The composition of the work serves to achieve the main goal set by the writer - the disclosure and resolution of the problem of personality. The key place belongs to the story "Princess Mary". In it, the hero is revealed to the greatest extent, because such a literary tool as confession is used. Other artistic techniques (portraits, dialogues, landscapes, and so on) add psychologism to this part of the work.
An expanded system of images reveals the secrets of the hero, hidden, at first glance, traits of his character.
Pechorin's conflict with the surrounding society
Like other representatives of the romantic trend, Mikhail Lermontov contrasts the personality and its environment, the norms and rules adopted in it. The author places the hero in different social environments: either he is presented as an army officer during the Caucasian War, or he communicates with smugglers, or rotates among the nobility.
In "Princess Mary" Pechorin's conflict with the "water society", the relationship of Grigory Alexandrovich with him and with the whole society is described in detail.
The "Water Society" is the quintessence of the St. Petersburg and provincial nobility. Their behavior and lifestyle bear a clear imprint of the era contemporary to the author. The clash of the personality with the environment is embodied in the relationship of the protagonist with the "water society", the values and interests of its representatives, typical entertainment.
All the provincial and metropolitan nobility are opposed to Grigory Pechorin, but there are quite a few heroes in the novel who are not only opposed to the main character, but are compared with him.
Comparison of Pechorin with other characters in the work
Grushnitsky is a kind of caricature of the protagonist. The deep essence of Pechorin in Grushnitsky becomes just a pose adopted in order to impress others. This is an anti-romantic hero.
His romanticism is almost caricatured. His behavior is often inappropriate for the situation. In everyday affairs, he tries to find romantic notes, but in truly romantic moments he is lost. His participation in a duel has nothing to do with nobility, he does not refuse it only because of pride. Grushnitsky is a bit like Lensky: romanticism, death in a duel, youth.
Only one male character is not opposed to Pechorin - Werner. They are really similar, both skeptical and witty, in conflict with society. But there are many differences: Pechorin is a man of action, Werner is passive. The nature of the latter is not so deep and complex, it is more practical. His appearance is filled with romantic details, but his personality is inconsistent.
The main features of the "water society" presented by the author in the novel
Civilian and military men constitute a special class in it, young people stand apart. But it is impossible to imagine other features than those already described in detail in the works of A.S. Griboyedov and A. S. Pushkin. The same servility, idleness, balls and gossip, an absolutely empty life, devoid of higher meaning.
Everything is the same, but in "A Hero of Our Time" we see a provincial society, not a metropolitan one. The lifestyle of the local nobility, the atmosphere of a small town, is described with incredible, subtle irony.
It can be said that the "water society" is far from a passing image in "A Hero of Our Time". The problem of the relationship between a person and society is the main goal of Mikhail Lermontov's creativity. At the same time, the poet and writer continues the traditions of Russian literature of that period.
(455 words) M. Yu. Lermontov's novel "A Hero of Our Time" consists of several stories, each of which is a sketch of the society of that time. So, the work "Princess Mary" introduces us to vacationers "on the waters" in Pyatigorsk. These are mostly nobles - local and those who arrived from the capital. Their behavior reflects the traditions, way of life and customs of the era described in the story. Pechorin and the "water society" constantly find themselves on opposite sides of the barricades. But do they have similar features? How did Lermontov see his contemporaries through the eyes of the protagonist?
It seems that Pechorin is contemptuous of vacationers. He notices that they envy each other, spread rumors, weave intrigues. This has been the case for many years of relations between representatives of different strata. People "on the waters" seem to be moving away from secular society. But they are already so accustomed to behaving commeilfaut that they cannot instantly transform. And it is unlikely that the nobles want changes. Some characters, however, stand out from others. So, Grushnitsky in the story is like a parody of Pechorin. The hero is very proud, romantic, impractical. His tendency to build castles in the air reaches the point of absurdity, to recklessness, and that is also why he decides to participate in a duel. This is a clear antipode of Pechorin, constantly looking for and craving romance in everyday situations, but not able to prove himself.
The image of Werner in the work is not opposed to the image of the protagonist, but is compared with him. Young people have almost the same attitude towards others, show skepticism, wit. But Pechorin, as the novel says, "is chasing life." Werner can rather be called passive, somewhat apathetic. Even on the eve of the duel, Pechorin thinks tenderly about the beauty of nature, and Werner about money matters. How often do we meet such people not only “on the waters”, but also in everyday life!
But Princess Mary is a rarer "copy" in a series of secular ladies. She is very young, not stupid, ironic, but naive and pure. Against her background, Pechorin looks like a real egoist. Relations with Princess Mary become an occasion for the hero to analyze his own behavior, to enter into a dialogue with himself. But does he love the young woman? Unlikely. For him, she is one of the many representatives of the "water society": smart and serious, but subject to influence. Faith is another matter. Her image is presented schematically by the author. Pechorin feels such loneliness and such detachment that even once he does not need his only lover. The hero spends his time talking with the steppe landlords, who are arrogant and condescending towards the military, and meeting with the “mistresses of the waters”, who are looking for a sharp mind and ardent hearts in men.
And there is also a “water youth” in the water society. Young men, just like their predecessors, are eager to receive the next rank, bow before the famous military and high-society rich people, dance with the ladies of the heart at balls. It's all the same metropolitan society. However, is it metropolitan? Rather provincial, dreaming of "reaching out" to the capital, as much as possible to resemble true nobles. Therefore, both the author and his hero treat what is happening with irony, and we, the readers, get the opportunity to reflect on the problems of the relationship between the individual and society.
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