Schedule Fall 2007 M-W-F 10:50-11:50 H 102. Ardis, 1988 ('Author's Introduction,' 'Bela,' 'Maksim Maksimych') OR 4 (Marisa Raether): Scotto. A Hero of Our Time Sample Papers. A Hero of Our Time is a short novel by Mikhail Lermontov, composed in 1. This novel is an epitome of a powerful man novel, regarded for its compelling Byronic hero (or anti- hero) Pechorin and for the picturesque descriptions of the Caucasus. Known as the first truly significant Russian novel, A Hero of Our Time marks a transition from romanticism to realism not only in the history of Russian literature, but also within Lermontov's own work. A Hero of Our Time audiobook Mikhail Yurevich LERMONTOV Chapter Time Author's Preface (2nd ed.) 00:00:00. Book II: Maksim Maksimych 00:14:09. A Hero of Our Time, by Mikhail Lermontov. Book II: Maksim Maksimych. Maksim Maksimych began to beg him to stay with him for a couple of hours or so longer. RoSA-Team; Filme; Maksim Maksimych 1971 ( Un erou al timpului nostru) Descarc. A Hero of Our Time is a short novel by Mikhail Lermontov. For instance, Maksim Maksimych is presented with the gentle irony. Maksim Maksimych (1971) Quotes on IMDb: Memorable quotes and exchanges from movies, TV series and more. In addition, the novel presents a profound analysis of two main characters – Pechorin and Maksim Maksimych. Indeed, there’s a world of difference between the characters of these two men, which can be traced through analysis of Pechorin’s personality. The preface gives a brief author's idea of his character: . It is a portrait built up of all our generation's vices in full bloom. You will again tell me that a human being cannot be so wicked, and I will reply that if you can believe in the existence of all the villains of tragedy and romance, why wouldn't believe that there was a Pechorin? If you could admire far more terrifying and repulsive types, why aren't you more merciful to this character, even if it is fictitious? Isn't it because there's more truth in it than you might wish? Byron’s works received international acclaim; moreover, Lermontov mentions his name several times throughout the novel. As the Byronic tradition suggests, Pechorin is a character of contradiction. He is both sensitive and cynical. The central character possesses extreme arrogance, yet has a deep insight into his own character and epitomizes the melancholy of the romantic hero who ponders on the futility of existence and the probability of death. Pechorin’s whole philosophy about existence is concentrated on the nihilistic, creating in him somewhat of a distanced, alienated personality. Moreover, Pechorin treats women as an incentive for endless conquests and does not consider them worthy of any particular respect. He considers women such as Bela and Princess Mary to be little more than pawns in his games of romantic conquest, which in effect hold no meaning in his listless pursuit of pleasure. This is shown in his comment on Princess Mary: “I often wonder why I’m trying so hard to win the love of a girl I have no desire to seduce and whom I’d never marry.” (Lermontov, 2. The main contradiction in Pechorin’s attitude to women is the memory of his genuine feelings for Vera, who loves him despite, and perhaps as a result of, all his faults. Having genuinely loved her once, and regarding the strong bond that still remains between them, Pechorin’s feelings for another can never reach the depth of his for Vera. At the same time, towards the end of “Princess Mary” there’s a moment of hope as Pechorin rushes after Vera. The reader almost assumes that a meaning to his existence may be attained and that Pechorin can finally realise that true feelings are possible. Yet a lifetime of superficiality and cynicism cannot be so easily disregarded. When fate comes into play and Pechorin’s horse collapses, he makes no further effort to reach his one hope of redemption: “I saw how futile and senseless it was to pursue lost happiness. For what?” (Lermontov, 2. In fact, there have been claims that Pechorin is a post- Byronic hero, taking into account the principal features of the traditional Byronic hero: moodiness; sense of mystery; alienation from society and rebellion against social convention; strong desire for personal freedom. Lermontov uses irony to reveal the personalities of his novel – Pechorin and Maksim Maksimych – with utmost effect. For instance, Maksim Maksimych is presented with the gentle irony. Cruel irony, which is close to sarcasm, can be seen in Pechorin's first description of Grushnitsky in “Princess Mary”. Openly hostile attitude in this context remarks which could otherwise be interpreted as neutrally descriptive seem to invite an ironic reading. Irony is also used to relate to an attitude of mind. It is a characteristic of Pechorin's view of life, society, human relationships, for he has no faith in human virtue, love, friendship and takes a coldly detached view of the people around him, which often manifests itself in ironic and sarcastic remarks as well as black humour. Maksim Maksimych is an equally important character in the novel since he is so typical of the . In addition, he helps to understand Pechorin’s complicated character and modus vivendi. This person wouldn’t understand Pechorin and doesn’t strive to, simply enjoying his company. Maksim Maksimych is just an ingrained solider, ready to carry out his responsibilities; he is a good conversationalist. Due to monotony of life he became deaf to human problems. For example, all mountaineers are highwaymen for him. Bella’s fate has filled a huge gap in his soul. No matter what happens, he cannot think about Pechorin without worrying. The last meeting with this strange person becomes an unhealed wound in Maksim Maksimych’s memory. At the same time, it acts as a warning that he has nowhere to return to. Lermontov characters cannot judge Pechorin as coldly as the reader inevitably must. The very people Pechorin exploits are often his most devoted admirers, such as Maksim Maksimych and Vera. At the same time, as they are made to see him through the eyes of those who respect him, they also shed some sympathy for his character, a sympathy that can translate into empathy and self- awareness. Readers begin to sympathize with Lermontov's monster. Moreover, they may be encouraged to recognize ways in which they resemble him. The most outstanding manifestation of Pechorin's propensity for contradiction is the way in which his attitude to fate and predestination is different according to circumstance. This attitude is also connected with a tendency to deny his own responsibility when things go wrong, and to lay the blame for his own failings on other people, his upbringing, society, or even fate or God. In “Princess Mary”, Pechorin hides his moral deformity behind a self- fulfilling prophecy –blaming other people's attitude to him. At the same time, Pechorin is free from both societal and moral constraints. His liberty makes him a romantic figure, yet abuses of this freedom used to crush those around him destroy the typical sentimental evocations of romantic imagery and give a bleak perspective on the realities of humanity. While characterizing Pechorin, Lermontov stresses out the impossibility of the existence of a pure romantic being. The novel gives a fundamentally realist interpretation of humanity, intimating that human nature in its essential selfishness would distort romantic autonomy and use it to destroy, rather than uplift. Pechorin does indeed adhere to a different moral code than the suffocating strictures of his class—different, but not higher. Typical of romantic literary heroes yet scandalous to the Russian elites, he marries a non- ethnic Russian woman of the Caucuses: Bela. He is also involved in an adulterous affair with Vera. To sum up, I should say that Pechorin and Maskim Maksimych are poles apart; yet there’s something that unites them. Finally, a typical Byronic chracater, Pechorin is not just a portrait of a single individual, it is a portrait composed of all the vices of the generation in the fullness of their development. Works cited. Brody, N., & Ehrlichman, H. Personality psychology: The science of individuality. Upper Saddle River, NJ: Prentice Hall. Lermontov, Mihail.
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