Who is our hero Yanko? Characteristics of undine from the novel a hero of our time. Female images of the novel

Already at the first acquaintance with Lermontov's novel "A Hero of Our Time" characterization of heroes, analysis of their images become necessary for understanding the work.

Pechorin - the central image of the novel

The protagonist of the novel is Grigory Pechorin, an extraordinary personality, the author painted "a modern man as he understands him, and has met too often." Pechorin is full of seeming and real contradictions in relation to love, friendship, looking for the true meaning of life, deciding for himself the questions of a person's destiny, choosing a path.

Sometimes the main character is unattractive to us - he makes people suffer, destroys their lives, but there is a force of attraction in him that makes others obey his will, sincerely love him and sympathize with the lack of purpose and meaning in his life.

Each part of the novel is a separate story from Pechorin's life, each has its own characters, and all of them from one side or another reveal the secret of the soul of the "hero of the time", making him a living person. Who are the characters who help us see "a portrait made up of the vices of the entire generation, in their full development"?

Maxim Maksimych

Maxim Maksimych, “A man worthy of respect,” as the young officer-storyteller says about him, open, kind, in many respects naive, content with life. We listen to his story about Bela's story, watch how he seeks to meet Gregory, whom he considers an old friend and to whom he is sincerely attached, we clearly see why he suddenly "became stubborn, grumpy." Sympathizing with the staff captain, we involuntarily begin to dislike Pechorin.

At the same time, for all his ingenuous charm, Maxim Maksimych is a limited person, he does not know what motivates a young officer, but he does not even think about it. It will be incomprehensible for the staff captain and the coldness of his friend at the last meeting, which offended to the depths of his soul. “What is to him in me? I am not rich, I am not bureaucratic, and in my years I am not at all a match for him. " The heroes have completely different characters, views on life, worldview, they are people of different eras and different origins.

Like the other main characters of Lermontov's A Hero of Our Time, the image of Maxim Maksimych pushes us to think about the reason for Pechorin's selfishness, indifference and coldness.

Grushnitsky and Werner

The images of the heroes are completely different, but both of them are a reflection of Pechorin, his "doubles".

Very young cadet Grushnitsky- an ordinary person, he wants to stand out, make an impression. He belongs to the type of people who “have ready-made pompous phrases for all occasions, who are simply not touched by the beautiful and who are importantly draped into extraordinary feelings, lofty passions and exceptional suffering. It is their delight to have an effect. "

This is the double-antipode of the protagonist. Everything that Pechorin has experienced sincerely and through suffering - discord with the world, unbelief, loneliness - in Grushnitsky is just a pose, bravado and adherence to the fashion of the time. The image of the hero is not just a comparison of the true and the false, but also the definition of their boundaries: in his desire to stand out, to have weight in the eyes of society, Grushnitsky goes too far, becomes capable of meanness. At the same time, he turns out to be "nobler than his comrades", his words "I despise myself" before Pechorin's shot - as an echo of the very disease of the era, which also affected Pechorin himself.

Dr. Werner it seems to us at first very similar to Pechorin, and it really is. He is a skeptic, perceptive and observant, "studied all the living strings of the human heart" and has a low opinion of people, "evil tongue", under the guise of mockery and irony, hides his true feelings, his ability to compassion. The main similarity that Pechorin notes when talking about his friend is that "we are pretty indifferent to everything, except ourselves."

The difference becomes apparent when we compare the descriptions of the characters. Werner turns out to be a cynic more in words, he is passive in his protest against society, limiting himself to ridicule and caustic remarks, he can be called a contemplator. The hero's egoism is completely conscious, his inner activity is alien to him.

His impassive decency betrays Werner: the doctor is not looking for changes either in the world, much less in himself. He warns his friend about rumors and conspiracy, but does not shake hands with Pechorin after the duel, not wanting to take on his own share of responsibility for what happened.

The character of these heroes is like a unity of opposites, both Werner and Grushnitsky set off the image of Pechorin and are important for our understanding of the whole novel.

Female images of the novel

On the pages of the novel, we see women with whom life brings Gregory. Bela, undine, princess Mary, Vera. They are all completely different, each with its own character and charm. They are the main characters in the three parts of the novel, telling about Pechorin's attitude to love, about his desire to love and be loved and the impossibility of this.

Bela

Circassian Bela, “A nice girl,” as Maksim Maksimych calls her, opens a gallery of female images. The mountain woman was brought up on folk traditions and customs. The impetuosity, passion, ardor of a "wild" girl living in harmony with the world around him attract Pechorin, finding a response in his soul. Over time, love wakes up in Bela, and it is given to it with all the strength of the natural openness of feelings and spontaneity. Happiness does not last long, and the girl, resigning herself to her fate, dreams only of freedom. "I myself will leave, I am not his slave - I am a princess, a prince's daughter!" Strength of character, attraction to freedom, inner dignity do not leave Belu. Even grieving before death that her soul would never again meet with Pechorin, when asked to accept another faith, she replies that "he will die in the faith in which she was born."

Mary

Image Mary Ligovskaya, princesses from high society, is written out, perhaps, in the most detailed of all the heroines. Belinsky's quote about Mary is very accurate: “This girl is not stupid, but not empty either. Her direction is somewhat ideal, in the childish sense of the word: it is not enough for her to love a person to whom her feelings would be attracted; it is imperative that he be unhappy and walk in a thick and gray soldier's greatcoat. " The princess seems to be living in a fictional world, naive, romantic and fragile. And, although she feels and perceives the world subtly, she cannot distinguish between secular play and genuine emotional impulses. Mary is a representative of her time, environment and social status. At first, paying attention to Grushnitsky, then he succumbs to Pechorin's play, falls in love with him - and receives a cruel lesson. The author leaves Mary, without telling, whether she was broken by the experiment for the sake of exposing Grushnitsky, or, having survived the lesson, she will not be able to lose faith in her love.

faith

The author tells a lot about Mary in detail, Faith but we, the readers, see only in love for Pechorin. "She is the only woman in the world who would not be able to deceive" the hero, the one who understood him "perfectly, with all the minor weaknesses, bad passions." "My love has grown together with my soul: it darkened, but did not fade away." Faith is love itself, accepting a person as he is, she is sincere in her feelings, and perhaps such a deep and open feeling could change Pechorin. But love, like friendship, requires dedication, for the sake of it you have to sacrifice something in life. Pechorin is not ready, he is too individualistic.

The protagonist of the novel reveals the motives of his actions and motives largely thanks to the images of Mary and Vera - in the story "Princess Mary" you can examine in more detail the psychological portrait of Gregory.

Conclusion

In different stories of the novel "A Hero of Our Time" the characters not only help us understand the most different features of Pechorin and, as a result, allow us to penetrate the author's plan, follow the "history of the human soul", see the "portrait of the hero of the time." The main characters in Lermontov's work represent different types of human characters and therefore paint the image of the time that created Grigory Pechorin.

Product test

"Taman" is the third story of a "Hero of Our Time" (see its summary and full text by chapter), and the first, whose content is borrowed from "Pechorin's diaries". (See Image of Pechorin, Characteristic of Pechorin with quotations.)

The author of the novel writes in the preface: upon learning that Pechorin, returning from Persia, died, I received the right to print his notes and decided to do it, then that I became interested in the merciless sincerity with which the author exposes his own weaknesses and vices in them. The history of the human soul is almost more curious and not more useful than the history of an entire people, especially when it is a consequence of the observations of a mature mind over itself and when it is written without a vain desire to arouse participation or surprise.

While in military service, Pechorin once at night came to the run-down town of Taman for a state need. For a long time the Cossack foreman could not find a hut for him to stay: everyone was busy. Only one was free, but the foreman mysteriously warned that "it's unclean there."

Lermontov. Hero of our time. Maxim Maksimych, Taman. Feature Film

This hut stood on the edge of the sea. At a knock, the door was not immediately unlocked, but at last a blind boy of about 14 came out of the house, with thorns in both eyes. The mistress was not at home. A blind boy, an orphan, lived with her out of mercy.

Entering the hut, Pechorin and his Cossack servant went to sleep on the benches. The Cossack quickly fell asleep, but Pechorin could not close his eyes for a long time - and suddenly saw a shadow that quickly flashed outside the window. He got up, left the hut and saw how a blind boy with some kind of bundle was walking to the pier, groping his way.

Pechorin quietly followed him. At the seashore, a woman appeared next to the blind man. They stood talking until a boat appeared in the distance, among the waves.

From the snatches of the conversation, Pechorin realized that the smuggler Yanko was sailing in the boat. There was a storm at sea, but Yanko, skillfully rowing with oars, happily moored to the shore. The three of them with the blind man and the woman, they began to pull out some knots from the boat and carry them away somewhere. Not becoming more to follow them, Pechorin went to bed.

In the morning the old mistress of the hut returned. At Pechorin's attempts to speak, this old woman pretended to be deaf. In annoyance, he took the blind man by the ear, asking: "Come on, blind devil, tell me where you dragged yourself with the bundle at night!" He only whimpered in response.

Going out to sit by the fence, Pechorin suddenly saw a beautiful girl on the roof of the hut - in all likelihood, the daughter of the hostess. Dressed in a striped dress, with loose braids, she looked like an undine (a mermaid) and sang a song about a boat that floats on the sea in a storm, ruled by a "wild head". By the voice Pechorin understood that it was she who stood at night with the blind on the shore. The girl began, as if playing, to run next to him, staring intently into his eyes. These pranks of her continued until the end of the day.

Towards evening, Pechorin stopped the frisky beauty at the door, telling her, without knowing why: “I know that you went ashore last night. What if I decided to report this to the commandant? " The girl only laughed, and Pechorin did not foresee that these words would have very important consequences for him.

When in the evening he sat down to drink tea, the "undine" suddenly entered, sat down opposite, looking tenderly at him - and suddenly hugged him and kissed him on the lips. He wanted to hug her, but the girl deftly slipped out, whispering: "Tonight, as everyone falls asleep, go ashore."

Late in the evening Pechorin went to the sea. The girl met him by the water, took him to the boat, got into it with him and pushed off the shore. In the boat, she began to hug and kiss him, but then unexpectedly leaned over the side - and tried to throw him into the sea.

A desperate struggle began between them. The girl pushed Pechorin into the water, repeating: "You saw, you will report!" With the last of his strength, he escaped and threw her into the waves. Flickering twice, the "undine" disappeared from sight.

Pechorin racked up to the pier and walked to the hut, but from afar he saw the girl again: she swam to the shore and was now wringing out her wet hair. Soon Yanko swam up in yesterday's boat. The girl told him: "Everything is lost!"

A blind boy appeared. Yanko announced to him that he would now sail away with the girl, because the two of them could no longer stay here. The blind man asked to swim with them, but Yanko drove the boy away, only tossing him some small coin.

This strange and dangerous incident did not cause anything in Pechorin's soul except painful bewilderment. He thought: “What has fate brought me to them? Like a stone thrown into a smooth spring, I disturbed their calmness and, like a stone, I almost sank myself! "

In the morning Pechorin left Taman. He never found out what became of the old woman and the blind. "And what do I care about the joys and disasters of men!"

Lermontov's novel "A Hero of Our Time" is an amazing and interesting work. The composition of the novel itself is unusual. First, the work consists of stories, which is unusual in itself. Secondly, these parts are not arranged in chronology, as is traditionally accepted. They are divided into two parts: a story about Pechorin's life through the eyes of a stranger ("Bela", "Maksim Maksimych", "Preface to Pechorin's magazine") and Pechorin's own diary, revealing his inner life ("Taman", "Princess Mary", " Fatalist"). This principle was not chosen by the author by chance. It contributes to the most profound, complete and psychologically subtle analysis of the hero.

There is no single plot in the work. Each story has its own characters and situations. They are connected only by the figure of the main character - Grigory Aleksandrovich Pechorin. Now we see him during his service in the Caucasus, then he finds himself in the provincial town of Taman, then he rests in Pyatigorsk on mineral waters. Everywhere the hero creates an extreme situation, sometimes with a threat to his life. Pechorin cannot live an ordinary life, he needs situations that reveal his enormous abilities.

"Taman" is the first chapter of Pechorin's diary. It is from this part that we begin to see the inner world of the hero. At the beginning of the story, Pechorin, as it were, briefly describes the content of the chapter to us: “Taman is the nastiest town of all the coastal cities of Russia. I almost died of hunger there, and in addition they wanted to drown me. " The plot of the chapter is quite simple. Pechorin on official business comes to Taman and stops with strange people. A mysterious undine girl and a blind boy live here. Seeing some kind of riddle in their behavior, Pechorin tries to solve it. To do this, at night, he arranges spying on the heroes. As a result, he finds out that the girl and the blind boy are connected with the smugglers. Penetrating their secret, Pechorin almost paid with his life: the undine tried to drown him.

In this chapter, the internal appearance of Pechorin begins to take shape. Here there are outlines of those qualities that will be revealed in more detail in other parts of the diary. From "Taman" we still cannot form an idea of ​​the life philosophy of Pechorin, but we are already beginning to understand what kind of character it is. This chapter reveals the hero's need for vivid life experiences, non-standard situations. Nothing forced him to follow the undine and the blind boy, and only the possibility of an interesting event, the promise of a riddle made Pechorin get involved in this situation.
Pechorin embarked on a dangerous adventure with only one goal - "to get the key to this riddle." In this regard, many of his positive qualities awakened in him: dormant strength, will, concentration, courage and determination. But he wastes these qualities completely aimlessly, applying them not where it should be: “The boat swayed, but I coped, and a desperate struggle began between us; fury gave me strength, but I soon noticed that I was inferior to my opponent in agility ... I rested my knee on the bottom, grabbed her braid with one hand, the other by the throat, she released my clothes, and I instantly threw them into the waves. "
Pechorin absolutely does not think about others. He only cares about his interests and entertainment. Therefore, the hero often distorts or even breaks the fate of other people, interfering with them out of curiosity. He discusses this himself at the end of the story: “I felt sad. And why would fate have thrown me into a peaceful circle of honest smugglers? Like a stone thrown into a smooth spring, I disturbed their calmness and, like a stone, I almost sank myself! "

When the secret of these people was revealed, the aimlessness of Pechorin's decisive actions was exposed. And again boredom, indifference, disappointment ... "Yes, and what do I care about human joys and misfortunes, me, a wandering officer, and even with a travel official need! .." - Pechorin thinks with bitter irony.

In Taman we see the interweaving of romantic and realistic narratives. Lermontov romantically describes a landscape, for example, a raging sea: “Slowly climbing the ridges of waves, quickly descending from them, a boat approached the shore. The swimmer was courageous, who decided to set off across the strait on such a night ... "Here the description of the elements helps to reveal the romantic image of Yanko, for whom" the road is everywhere, where only the wind blows and the sea makes noise. " A description of the characters and life of free smugglers is given realistically. Here is how the portrait of Yanko is given: a man in a Tatar hat came out of the boat, but he had his hair cut like a Cossack, and a large knife stuck out of his belt belt.

The situation in which they live corresponds to the lifestyle of the smugglers: “I went into the hut - two benches and a table, and a huge chest near the stove made up all the furniture. Not a single image on the wall - a bad sign! The sea wind burst into the broken glass. " This description combines realistic and romantic features.

In the description of smugglers, romanticism is associated with their free way of life, their strength, dexterity, courage. But their meager spiritual world is shown realistically. It turns out that money determines the relationship of these people. Janko and Undine become violent when they begin to share stolen goods. The blind receives from them only a copper coin. And Yanko orders to tell the old woman, "that, they say, it's time to die, healed, you need to know and honor."

Taman, among the rest of the novels, is distinguished by its laconicism and precision of language. Internal experiences, difficult psychological situations are disclosed in a very simple and accessible language. The story is very short, but very capacious in content. Thus, "Taman" is an important part of the novel "A Hero of Our Time", it begins a deep disclosure of the inner characteristics of the hero and the entire generation of young nobles in the 30s of the 19th century.

Yanko is an episodic hero of the story "Taman" from "A Hero of Our Time" by Lermontov. Several phrases and actions reveal the characteristics of his personality. There are few of them, but they are capacious and bright.

Against the background of the stormy sea, the "poor boat" appears before the reader. In it, a hero is heading to the shore, in whom romantic prowess and heartless pragmatism have merged. In the meantime, we only know that "Yanko is not afraid of the storm." A brave daredevil, he is not afraid of fog, winds, coastal watchmen, or the sea. This is how he appears from the words of the blind man. His boat resembled the movement of a bird. She dived like a duck, and then, quickly swinging the oars, "jumped out of the abyss among the spray of foam." The beats of the oars were like the beats of wings. What prompted the young man to take such a desperate step? Perhaps a romantic feeling? Alas, the reason is prosaic and even primitive: the transportation of contraband goods. The heavy load doubled the risk of traveling between the "mountains of waves" raised by the violent storm.

Here he, deftly maneuvering, directs his boat into a small bay. Contrary to the narrator's fears, she remains unharmed. Yanko's actions reveal a confident and decisive nature. We admire his courage, agility and strength. But the appearance is unremarkable: "of average height, in a Tatar lamb hat", "sheared for a show, and a large knife behind a belt belt. This lack of expressive details partly dispels the romanticism of the image. A sense of commonness arises.

Locals call Yanko and his fellow smugglers "unkind people." Their assessment is confirmed, although initially this is only an assumption. The halo of the romantic hero finally disappears in the face of danger. The words that the old woman has “healed” and it is time and honor for her to know ”expose a cold, callous heart. Behind the "reward" a blind man can see soulless avarice. He throws helpless people on the shore, because they will be a burden to him. I used it and threw it out of my life without a twinge of conscience. This is an extra category in his illegal "deeds".

It is obvious that Yanko is a lover of easy money. Behind an outwardly attractive life full of risk is emptiness and lack of spirituality. Money defines everything in it. The fearless battle with the sea took place for material gain. Life is filled with deceit, theft and betrayal of people loyal to him. And it is unlikely that love for the "undine" lives in his heart. Cold calculation is visible in the words "would pay more."

Lermontov is faithful to the harsh truth of life. The beauty of the amazing landscapes contrasts with the absurd emptiness of the souls and lives of the heroes. The hero is convinced that such a daring man like him cannot be found for his accomplice, apparently considering himself successful. To some extent this is so, because Yanko leaves "rich goods" in the care of the blind. But this is the success of the primitive human soul. So, the hero is an "unkind person." He does not hesitate to make a decision, and his boat with a white sail disappears into the sea. From there, he brought romantic expectations to the reader and carried them away, leaving a feeling of bewilderment and bitter disappointment.

Several interesting compositions

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Winter comes to us every year. Winter activities are different from summer activities. It is not always possible to spend a lot of time on the street. There is no way to swim and sunbathe.

"Taman"

afraid of anyone and nothing. Pechorin sees Yanko's boat as a black dot in the waves and cannot help but exclaim: “A swimmer was brave, who decided on such a night to set off across the strait at a distance of 20 versts!”. Yanko is not only brave and brave, he is free as a bird. At the end of the story, he will say that he has a road everywhere, where the sea is rustling and the wind is blowing. At his first appearance, a comparison of the boat on which he sails with a bird: gives rise to the idea of ​​freedom and will. Like a duck, the boat dives and jumps out of the water, its oars are like wings. The swiftness of the boat is reminiscent of the flight of a bird.

"Daredevil". Emphasizing Yanko's strength, dexterity, courage and love for freedom, the author, as a realist, cannot fail to mention Yanko's self-interest (“Tell me, if he paid better for his work, Yanko would not have left him”), about his spiritual callousness. He says to the blind: “. ... ... tell the old woman that, they say, it's time to die, healed, you need to know and honor. " To the blind boy's question, what will happen to him ("And me?"), Yanko replies: "What do I need you for?" But all this cannot destroy the impression caused by the courage and courage of the smuggler. Poeticizing Janko's free lifestyle and bold character, the author endows the smuggler with a peculiar speech. It is poetic, there are almost no vernaculars and many features that bring it closer to the structure of poetic folk speech.

spaciousness. The landscape that accompanies Janko is nowhere given in full detail. Pictures of the sea are drawn sparingly, they seem to be organically merged with the image. It is also interesting that Lermontov does not use epithets at all to describe the image. Yanko is all in action, and speaking about him, the author most often shows the actions, and not the state of the hero; hence the abundance of verbs. So, drawing the appearance of Yanko on the shore, the author writes that he "went out", "waved his hand," all three "began to pull something out," then "set off along the shore."

Pechorin all the time leaves the role of an observer and becomes a participant in the events. It is his intervention in someone else's life that determines the conflict and the ending of the story. The desire to "intervene" in events, to become their participant is evidence of the hero's activity, his inability to be content with the passive role of a contemplator of life, although he himself in words limits himself to these frames. Pechorin's activity is manifested in each of his actions, and one feels that this is one of the main properties of the hero's character. Everything that Pechorin does, he does not for the sake of any benefit and not for the sake of trying to benefit people. His actions do not pursue any goal, but he cannot not act, because such is his nature. Activity and a thirst for action are combined with a drive for danger, which speaks of courage, and courage gives rise to resourcefulness and self-control. In difficult times, he knows how not to lose his presence of mind (scene in the boat).

It is easy to see that in the story "Taman" Pechorin does not seem bored and indifferent. All his actions speak of the interest that strangers aroused in him, he is worried about the mysterious appearance of the girl, he decides at all costs to unravel the meaning of everything that is happening, that is, he is not indifferent to his surroundings, even excited by his unusualness. Everything seen makes a deep impression on Pechorin, and this again confirms the idea that the hero is far from apathy and boredom. The story "Taman" allows one to judge about the hero's deep love for nature. True, Pechorin never speaks directly about this anywhere, as in Princess Mary, but his constant attention to the changing pictures of the sea, the sky, in which he sees now a full month, now torn clouds, shows the hero's interest in nature; he not only describes her, but admires her. Waking up in the morning, before leaving to the commandant Pechorin looks with pleasure out of the window "at the blue sky, strewn with torn clouds", and "at the distant coast of the Crimea, which stretches in a purple strip and ends in a cliff ..."

a man of this kind! But Pechorin does not seem happy. The same qualities are more valuable in smugglers. None of Pechorin's actions, not one of the manifestations of his will has a deep, great purpose. He is active, but neither he nor others need his activity. He seeks action, but finds only a semblance of it and receives neither happiness nor joy. He is smart, resourceful, observant, but all this brings only misfortune to the people with whom he encounters. There is no purpose in his life, his actions are accidental, his activity is fruitless, and Pechorin is unhappy. He regrets that he broke the life of "honest smugglers", excitedly exclaims: "Like a stone thrown into a smooth spring, I disturbed their calm." Latent sadness and dull pain are heard in the seemingly cynical final words of the hero: "And what do I care about human joys and disasters, me, a wandering officer, and even with a travel need!"

But in this story there is still no such hopelessness that is felt in the previous one ("Maksim Maksimych"), and Pechorin himself so far causes not condemnation, but regret that the forces of his rich nature do not find real application. In the story of Maxim Maksimych, he stands out against the background of other characters as a special person, almost a hero who succeeds in everything he has planned. In the story "Taman" Pechorin tells about himself, he does not hide the details that show him not at all in a heroic form. It turns out that he does not know how to swim, is inferior in dexterity to a girl, does not understand the real interests of the "undine" in him, etc. In the end, he even turned out to be a "victim": a box, a checker was stolen from him, and there is nothing left but to come to terms with what has happened, because, indeed, "wouldn't it be ridiculous to complain to the authorities that a blind boy robbed me, and an eighteen-year-old girl almost drowned me?" Such an ironic attitude towards himself is characteristic of Pechorin.