The novel “Hero of Our Time” by M. Yu. Lermontov can be considered the first socio-psychological and philosophical work in prose. IN this novel the author tried to display the vices of an entire generation in one person, to create a multifaceted portrait.
Pechorin is a complex and contradictory person. The novel includes several stories, and in each of them the hero reveals himself to the reader from a new side.
The image of Pechorin in the chapter “Bela”
In the chapter “Bela” it opens to the reader from the words of another hero of the novel - Maxim Maksimych. This chapter describes Pechorin’s life circumstances, his upbringing and education. Here the portrait of the main character is also revealed for the first time.
Reading the first chapter, we can conclude that Grigory Alexandrovich is a young officer, has an attractive appearance, at first glance pleasant in any respect, he has good taste and a brilliant mind, an excellent education. He is an aristocrat, an esthete, one might say, a star of secular society.
Pechorin is a hero of our time, according to Maxim Maksimych
The elderly staff captain Maxim Maksimych is a gentle and good-natured man. He describes Pechorin as quite strange, unpredictable, and unlike other people. From the first words of the staff captain, one can notice the internal contradictions of the protagonist. He can be in the rain all day and feel great, and another time he can freeze from a warm breeze, he can be frightened by the slam of window shutters, but he is not afraid to go to the wild boar one on one, he can be silent for a long time, and at some point a lot talk and joke.
The characterization of Pechorin in the chapter “Bela” has practically no psychological analysis. The narrator does not analyze, evaluate or even condemn Gregory, he simply conveys many facts from his life.
The tragic story of Bel
When Maxim Maksimych tells the traveling officer sad story which happened before his eyes, the reader becomes acquainted with the incredible cruel egoism of Grigory Pechorin. On a whim main character steals the girl Bela from her home, without thinking about her later life, about the time when he will finally get tired of her. Later, Bela suffers because of Gregory’s emerging coldness, but cannot do anything about it. Noticing how Bela is suffering, the staff captain tries to talk to Pechorin, but Grigory’s answer causes only misunderstanding in Maxim Maksimych. He can’t wrap his head around how a young man, for whom everything is going very well, can still complain about life. It all ends with the girl's death. The unfortunate woman is killed by Kazbich, who previously killed her father. Who fell in love with Bela my own daughter, Maxim Maksimych is amazed by the coldness and indifference with which Pechorin suffered this death.
Pechorin through the eyes of a traveling officer
The characterization of Pechorin in the chapter “Bela” differs significantly from the same image in other chapters. In the chapter “Maksim Maksimych” Pechorin is described through the eyes of a traveling officer who was able to notice and appreciate the complexity of the protagonist’s character. Behavior and appearance Pechorin is already attracting attention. For example, his gait was lazy and careless, but at the same time he walked without swinging his arms, which is a sign of a certain secrecy in his character.
The fact that Pechorin experienced mental storms is evidenced by his appearance. Gregory looked older than his years. The portrait of the main character contains ambiguity and inconsistency; he has delicate skin, a childish smile, and at the same time deep. He has light blond hair, but a black mustache and eyebrows. But the complexity of the hero’s nature is most emphasized by his eyes, which never laugh and seem to scream about some hidden tragedy of the soul.
Diary
Pechorin appears by itself after the reader encounters the thoughts of the hero himself, which he wrote down in his personal diary. In the chapter “Princess Mary,” Grigory, having a cold calculation, makes the young princess fall in love with him. As events unfold, he destroys Grushnitsky, first morally, and then physically. Pechorin writes all this in his diary, every step, every thought, accurately and truly assessing himself.
Pechorin in the chapter “Princess Mary”
The characterization of Pechorin in the chapter “Bela” and in the chapter “Princess Mary” is striking in its contrast, since in the second mentioned chapter Vera appears, who became the only woman who managed to truly understand Pechorin. It was her that Pechorin fell in love with. His feeling for her was unusually reverent and tender. But in the end, Gregory loses this woman too.
It is at the moment when he realizes the loss of his chosen one that a new Pechorin is revealed to the reader. Characteristics of the hero on at this stage lies in despair, he no longer makes plans, is ready for stupid ones, and having failed to save his lost happiness, Grigory Alexandrovich cries like a child.
Final chapter
In the chapter “Fatalist,” Pechorin reveals one more side. The main character does not value his life. Pechorin is not stopped even by the possibility of death; he perceives it as a game that helps to cope with boredom. Grigory risks his life in search of himself. He is courageous and courageous, he has strong nerves, and in a difficult situation he is capable of heroism. You might think that this character was capable of great things with such a will and such abilities, but in reality it all came down to " thrills", to the game between life and death. As a result, the strong, restless, rebellious nature of the protagonist brings people only misfortune. This thought gradually arises and develops in the mind of Pechorin himself.
Pechorin is a hero of our time, a hero of his own, and of any time. This is a person who knows habits, weaknesses and, to some extent, he is an egoist, because he thinks only about himself and does not show concern for others. But in any case, this hero is romantic, he is opposed to the world around him. There is no place for him in this world, his life is wasted, and the way out of this situation is death, which overtook our hero on the way to Persia.
is a work written by. We got acquainted with this work in class and learned a lot of interesting things about the past and about those people who had to live in advanced times for Russia. In the work we meet the main character Pechorin. At the same time, in each story we learn more and more about him, his image is revealed each time from a different side. Today we will look at the portrait of Pechorin, which the author creates in the chapter Maxim Maksimych, and quotes from the work will help us with this.
Psychological portrait of Pechorin
Psychological portrait of Pechorin the best way shown in the chapter Maxim Maksimych. In addition, this is where the description of the hero’s appearance appears. By studying this chapter, we can find a portrait created by the writer. As the author writes, his gait was careless and lazy, and he did not wave his arms, which indicated a certain secrecy. Right away, looking at Pechorin, you will say that he is a young man, about twenty-three years old, but after looking closer, you will say that he is thirty. Although his smile was somewhat childish, his eyes did not radiate this smile. His gaze was cold, there was no soulful imagination in it. Moreover, his gaze was piercing and heavy.
In this chapter we see the duality of the hero’s nature. And he himself says that two people live in it. One person lives life to the fullest, and the second constantly judges him for his actions and actions. Reading the chapter Maxim Maksimych, Pechorin reveals himself to us as an indifferent, impudent person, a person who can easily hurt others.
“Hero of Our Time” is the most famous prose work of Mikhail Yuryevich Lermontov. It owes its popularity largely to the originality of the composition and plot and the contradictory image of the main character. We’ll try to figure out what makes Pechorin’s characterization so unique.
History of creation
The novel was not the first prose work writer. Back in 1836, Lermontov began a novel about the life of St. Petersburg high society - “Princess Ligovskaya”, where the image of Pechorin first appears. But due to the poet’s exile, the work was not completed. Already in the Caucasus, Lermontov again took up prose, leaving the same hero, but changing the location of the novel and the title. This work was called “Hero of Our Time.”
Publication of the novel begins in 1839 in separate chapters. The first to go into print are “Bela”, “Fatalist”, “Taman”. The work received many negative responses from critics. They were primarily associated with the image of Pechorin, which was perceived as slander “on an entire generation.” In response, Lermontov puts forward his own characterization of Pechorin, in which he calls the hero a collection of all vices contemporary author society.
Genre originality
The genre of the work is a novel that reveals psychological, philosophical and social problems Nicholas times. This period, which began immediately after the defeat of the Decembrists, is characterized by the absence of significant social or philosophical ideas, which could inspire and unite the advanced society of Russia. Hence the feeling of uselessness and impossibility of finding one’s place in life, from which the younger generation suffered.
The social side of the novel is already evident in the title, which is imbued with Lermontov’s irony. Pechorin, despite his originality, does not fit the role of a hero; it is not for nothing that he is often called an anti-hero in criticism.
The psychological component of the novel lies in the enormous attention that the author pays to the character’s inner experiences. Using various artistic techniques the author's characterization of Pechorin turns into a complex psychological portrait, which reflects all the ambiguity of the character's personality.
And the philosophical in the novel is represented by a number of eternal human questions: why does a person exist, what is he like, what is the meaning of his life, etc.
What is a romantic hero?
Romanticism as a literary movement arose in the 18th century. His hero is, first of all, an extraordinary and unique personality, who is always opposed to society. A romantic character is always alone and cannot be understood by others. He has no place in ordinary world. Romanticism is active, it strives for accomplishments, adventures and unusual scenery. That is why Pechorin’s characterization is replete with descriptions unusual stories and no less unusual actions of the hero.
Portrait of Pechorin
Initially, Grigory Aleksandrovich Pechorin is an attempt to typify young people of Lermontov’s generation. How did this character turn out?
A brief description of Pechorin begins with a description of him social status. So, this is an officer who was demoted and exiled to the Caucasus because of some unpleasant story. He is from an aristocratic family, educated, cold and calculating, ironic, endowed with an extraordinary mind, and prone to philosophical reasoning. But he doesn’t know where to use his abilities and often wastes money on trifles. Pechorin is indifferent to others and himself, even if something captures him, he quickly cools down, as was the case with Bela.
But the fault is that such extraordinary personality cannot find a place for himself in the world, lies not with Pechorin, but with the whole society, since he is a typical “hero of his time.” The social situation gave birth to people like him.
Quoted description of Pechorin
Two characters speak about Pechorin in the novel: Maxim Maksimovich and the author himself. Also here we can mention the hero himself, who writes about his thoughts and experiences in his diary.
Maxim Maksimych, simple-minded and a kind person, describes Pechorin this way: “A nice fellow... just a little strange.” Pechorin is all about this strangeness. He does illogical things: he hunts in bad weather and sits at home on clear days; goes to the wild boar alone, not valuing his life; can be silent and gloomy, or can become the life of the party and tell funny and very interesting stories. Maxim Maksimovich compares his behavior with the behavior of a spoiled child who is used to always getting what he wants. This characteristic reflected mental tossing, worries, and inability to cope with one’s feelings and emotions.
Author's quotation description Pechorina is very critical and even ironic: “When he sat down on the bench, his figure bent... the position of his whole body depicted some kind of nervous weakness: he sat as Balzac’s thirty-year-old coquette sits on her downy chairs... In his smile there was something childish..." Lermontov does not at all idealize his hero, seeing his shortcomings and vices.
Attitude towards love
Pechorin made Bela, Princess Mary, Vera, and the “undine” his beloved. The characterization of the hero would be incomplete without a description of his love stories.
Seeing Bela, Pechorin believes that he has finally fallen in love, and this is what will help brighten up his loneliness and save him from suffering. However, time passes, and the hero realizes that he was mistaken - the girl is only short time entertained him. Pechorin's indifference to the princess revealed all the egoism of this hero, his inability to think about others and sacrifice something for them.
Next victim restless soul The character turns out to be Princess Mary. This proud girl decides to step over social inequality and is the first to confess her love. However, Pechorin is scared family life which will bring peace. The hero doesn’t need this, he craves new experiences.
A brief description of Pechorin in connection with his attitude towards love can boil down to the fact that the hero appears as a cruel person, incapable of constant and deep feelings. He only causes pain and suffering to both the girls and himself.
Duel between Pechorin and Grushnitsky
The main character appears as a contradictory, ambiguous and unpredictable personality. The characterization of Pechorin and Grushnitsky points to another striking feature of the character - the desire to have fun, to play with the destinies of other people.
The duel in the novel was Pechorin’s attempt not only to laugh at Grushnitsky, but also to conduct a kind of psychological experiment. The main character gives his opponent the opportunity to do the right thing and show his best qualities.
The comparative characteristics of Pechorin and Grushnitsky in this scene are not on the side of the latter. Since it was his meanness and desire to humiliate the main character that led to the tragedy. Pechorin, knowing about the conspiracy, is trying to give Grushnitsky an opportunity to justify himself and retreat from his plan.
What is the tragedy of Lermontov's hero
Historical reality dooms all Pechorin’s attempts to find himself at least some useful application. Even in love he could not find a place for himself. This hero is completely alone, it is difficult for him to get close to people, to open up to them, to let them into his life. Sucking melancholy, loneliness and the desire to find a place for oneself in the world - these are the characteristics of Pechorin. “A Hero of Our Time” has become a novel that personifies the greatest tragedy of man - the inability to find oneself.
Pechorin is endowed with nobility and honor, which was demonstrated during the duel with Grushnitsky, but at the same time, selfishness and indifference dominate in him. Throughout the entire narrative, the hero remains static - he does not evolve, nothing can change him. Lermontov seems to be trying to show by this that Pechorin is practically half a corpse. His fate is sealed; he is no longer alive, although he is not completely dead yet. That is why the main character does not care about his safety; he fearlessly rushes forward because he has nothing to lose.
Pechorin's tragedy lies not only in the social situation, which did not allow him to find a use for himself, but also in his inability to simply live. Introspection and constant attempts to comprehend what is happening around us led to wandering, constant doubts and uncertainty.
Conclusion
The characterization of Pechorin is interesting, ambiguous and very contradictory. “A Hero of Our Time” became Lermontov’s iconic work precisely because of such a complex hero. Having absorbed the features of romanticism, social changes of the Nikolaev era and philosophical problems, Pechorin’s personality turned out to be timeless. His thoughts and problems are close to today’s youth.
Researchers have repeatedly noted the detail, detail and psychologism of the character portraits created by M.Yu. Lermontov. B. M. Eikhenbaum wrote that the basis portrait painting writer “laid out a new idea about the connection between a person’s appearance and his character and psyche in general - an idea in which echoes of new philosophical and natural science theories, which served as a support for early materialism."
Let's try to look at the portraits of characters in the novel “A Hero of Our Time.” The most detailed description appearance in the novel is a portrait of Pechorin, given in the perception of a passing officer. It gives a detailed description of the hero's physique, his clothes, face, gait, and each of these details of appearance can tell a lot about the hero. As V.V. Vinogradov notes, external details are interpreted by the author in physiological, social or psychological aspect, a kind of parallelism is established between the external and the internal.
Thus, Pechorin’s aristocratic origin is emphasized by such details in his portrait as “a pale, noble forehead”, “a small aristocratic hand”, “dazzling white teeth”, a black mustache and eyebrows, despite light color hair. ABOUT physical strength Pechorin, his agility and endurance are indicated by “broad shoulders” and “a strong build, capable of enduring all the difficulties of nomadic life.” The hero's gait is careless and lazy, but he does not have the habit of waving his arms, which indicates a certain secrecy of character.
But most of all, the narrator is struck by Pechorin’s eyes, which “did not laugh when he laughed.” And here the narrator openly connects the portrait of the hero with his psychology: “This is a sign of either an evil disposition or deep, constant sadness,” the narrator notes.
His cold, metallic gaze speaks of the hero’s insight, intelligence and at the same time indifference. “Because of the half-lowered eyelashes, they [the eyes] shone with some kind of phosphorescent shine, so to speak. It was not a reflection of the heat of the soul or the playing imagination: it was a brilliance, similar to the brilliance of smooth steel, dazzling, but cold, his gaze was short, but penetrating and heavy, leaving an unpleasant impression of an indiscreet question and could have seemed impudent if not was so indifferently calm.”
The contradictory nature of Pechorin is revealed by the opposite features in his portrait: “strong build” and “nervous weakness” of the whole body, a cold, penetrating gaze - and a childish smile, an indefinite impression of the hero’s age (at first glance, no more than twenty-three years old, on closer acquaintance - thirty).
Thus, the composition of the portrait is built as if narrowing,< от более внешнего, физиологического к психологическому, характеристическому, от типического к индивидуальному»: от обрисовки телосложения, одежды, манер к обрисовке выражения лица, глаз и т.д.
Other characters are depicted in less detail in the novel. For example, a description of the appearance of Maxim Maksimych: “Behind my cart, four bulls were dragging another... Its owner walked behind it, smoking from a small Kabardian pipe, trimmed in silver. He was wearing an officer's frock coat without epaulettes and a Circassian shaggy hat. He seemed to be about fifty years old; his dark complexion showed that he had long been familiar with the Transcaucasian sun, and his prematurely gray mustache did not match his firm gait and cheerful appearance.”
Maxim Maksimych is a physically strong person with good health, cheerful and resilient. This hero is simple-minded, sometimes awkward and seems funny: “He did not stand on ceremony, even hit me on the shoulder and curled his mouth like a smile. Such a weirdo!” However, there is something childish about him: “...he looked at me in surprise, grumbled something through his teeth and began rummaging through the suitcase; so he took out one notebook and threw it with contempt on the ground; then the second, the third and the tenth had the same fate: there was something childish in his annoyance; I felt funny and sorry..."
Maxim Maksimych is a simple army captain; he does not have Pechorin’s insight, his intellect, his spiritual needs. However, this hero has kind hearted, youthful naivety, integrity of character, and the writer emphasizes these traits by depicting his manners and behavior.
In the perception of Pechorin in the novel, a portrait of Grushnitsky is given. This is a portrait-essay that reveals not only the appearance of the hero, but also his manners, habits, lifestyle, and character traits. Grushnitsky appears here as a certain human type. We find this kind of portrait-essays in Pushkin and Gogol. However, it is worth noting that all descriptions of Lermontov’s appearance are accompanied by the author’s commentary - conclusions made by the author, outlining this or that detail of appearance (in this case, all the conclusions are made by Pechorin). Pushkin and Gogol have no such comments. We find similar comments when depicting appearance in Tolstoy, however, Tolstoy does not comment on the initial portrait of the hero, but on the dynamic descriptions of the character’s states.
The portrait of Grushnitsky indirectly characterizes Pechorin himself, emphasizing his intelligence and insight, his ability to understand human psychology and at the same time his subjectivity of perception.
“Grushnitsky is a cadet. He has only been in the service for a year, and wears, out of a special kind of dandyism, a thick soldier’s overcoat... He is well built, dark and black-haired; he looks like he might be twenty-five years old, although he is hardly twenty-one. He throws his head back when he speaks, and constantly twirls his mustache with his left hand, because he leans on a crutch with his right. He speaks quickly and pretentiously: he is one of those people who have ready-made pompous phrases for all occasions, who are not touched by simply beautiful things and who are solemnly draped in extraordinary feelings, sublime passions and exceptional suffering. To produce an effect is their delight; Romantic provincial women like them crazy.”
Here, the hero’s appearance is first described, then his characteristic gestures and manners. Then Lermontov outlines Grushnitsky’s character traits, emphasizing what is common and typical in the character. In describing the appearance of the hero, Lermontov uses the technique of facial characterization (“He throws his head back when he speaks and constantly twirls his mustache with his left hand”), which was then used by Tolstoy (the jumping cheeks of Prince Vasily in the novel “War and Peace”).
In Pechorin's mind, Grushnitsky is seen as certain type personality, in many ways the opposite of himself. And this is exactly the balance of power in the novel. Grushnitskaya, with his demonstrative disappointment, is a caricature, a parody of the main character. And this caricature of the image, the vulgarity of Grushnitsky’s inner appearance is constantly emphasized in the description of his appearance. “Half an hour before the ball, Grushnitsky appeared to me in the full glory of an army infantry uniform. Fastened to the third button was a bronze chain on which hung a double lorgnette; epaulettes of incredible size were curved upward in the shape of cupid's wings; his boots creaked; in his left hand he held brown kid gloves and a cap, and with his right hand he whipped his curled crest into small curls every minute.”
If the first portrait of Grushnitsky is a detailed sketch of appearance, behavior and character, then his second portrait is a specific, fleeting impression of Pechorin. Despite the contempt he feels for Grushnitsky, Grigory Alexandrovich tries to be objective here. However, it is worth noting that he does not always succeed.
Grushnitsky is in many ways still a boy, following fashion, wanting to show off and in the heat of youthful ardor. However, Pechorin (with his knowledge of human psychology) does not seem to notice this. He considers Grushnitsky as a serious opponent, while the latter is not one.
The portrait of Doctor Werner, also given in the perception of Pechorin, is magnificent in the novel. “Werner was short, and thin, and weak, like a child; one of his legs is shorter than the other, like Byron; in comparison with his body, his head seemed huge: he cut his hair into a comb, and the irregularities of his skull, exposed in this way, would strike a phrenologist with a strange interweaving of opposing inclinations.”
Werner is neat and has good taste: “Taste and neatness were noticeable in his clothes; his thin, wiry and small hands showed off in light yellow gloves. His coat, tie and vest were always black.”
Werner is a skeptic and a materialist. Like many doctors, he often makes fun of his patients, but he is not cynical: Pechorin once saw him cry over a dying soldier. The doctor is well versed in female and male psychology, but never uses his knowledge, unlike Pechorin. At Werner's evil tongue, his small black eyes, penetrating into the thoughts of his interlocutor, speak of his intelligence and insight.
However, for all his skepticism and evil mind, Werner is a poet in life, he is kind, noble, and has a pure, childish soul. Despite his outward ugliness, the hero is attracted by his nobility of soul, moral purity, and brilliant intellect. Lermontov notes that women fall madly in love with such men, preferring their ugliness to the beauty of “the freshest and pinkest endymions.”
Thus, the portrait of Dr. Werner is also a portrait-sketch, revealing the features of the hero’s appearance, his character traits, way of thinking, and behavior. This portrait indirectly characterizes Pechorin himself, conveying his powers of observation and penchant for philosophical generalizations.
Great in the novel and female portraits. Thus, the author “entrusts” the description of Bela’s appearance to Maxim Maksimych, who here becomes a poet: “And for sure, she was good: tall, thin, black eyes, like a mountain chamois, and looked into your soul.”
Remarkable and picturesque psychological picture“undines”, given in the perception of Pechorin. In this description, the author acts as a true expert female beauty. The reasoning here takes on the character of generalizations. The first impression made by this girl is charming: extraordinary flexibility of the figure, “long brown hair”, “golden tint of tanned skin”, “correct nose”, eyes “gifted with magnetic power”. But the “undine” is the smugglers’ assistant. Hiding the traces of her crimes, she tries to drown Pechorin. She has cunning and deceit, cruelty and determination unusual for women. These features are also conveyed in the description of the heroine’s appearance: in her indirect glances there is “something wild and suspicious,” in her smile there is “something vague.” However, all the behavior of this girl, her mysterious speeches, her oddities remind Pechorin of “Gethe’s Mignon,” and the true essence of the “undine” eludes him.
Thus, Lermontov appears before us as a real master of portraiture. The portraits created by the writer are detailed and detailed; the author is well versed in the physiognomy and psychology of people. However, these portraits are static, just like the characters themselves are static. Lermontov does not depict heroes in their dynamics states of mind, in changing moods, feelings and impressions, and usually gives one large sketch of the character’s appearance throughout the entire narrative. The static nature of the portraits distinguishes Lermontov from Tolstoy and brings him closer to Pushkin and Gogol.
"Hero of Our Time" - the first in our country psychological novel, in which Lermontov, by analyzing the actions and thoughts of the main character, reveals his inner world. But despite this, characterizing Pechorin is not an easy task. The hero is ambiguous, as are his actions, largely due to the fact that Lermontov created not a typical character, but a real, living person. Let's try to understand this person and understand him.
The portrait description of Pechorin contains a very interesting detail: “his eyes did not laugh when he laughed.” We can see that the hero is reflected even in his external description. Indeed, Pechorin never feels his life entirely; in his own words, two people always coexist in him, one of whom acts, and the second judges him. He constantly analyzes his own actions, which is “observation of a mature mind over itself.” Perhaps this is what prevents the hero from living life to the fullest and makes him cynical.
The most striking character trait of Pechorin is his selfishness. His desire, at all costs, to arrange everything exactly as it came to his mind, and nothing else. By this he reminds that he does not retreat until he gets what he wants. And, being childishly naive, Pechorin never realizes in advance that people may suffer from his petty selfish aspirations. He puts his own whim above everything else and simply does not think about others: “I look at the suffering and joy of others only in relation to myself.” Perhaps it is thanks to this trait that the hero moves away from people and considers himself superior to them.
The characterization of Pechorin should contain one more important fact. The hero feels the strength of his soul, feels that he was born for a higher goal, but instead of searching for it, he wastes himself on all sorts of trifles and momentary aspirations. He constantly rushes around in search of entertainment, not knowing what he wants. So, in pursuit of small joys, his life passes. Without any goal in front of him, Pechorin wastes himself on empty things that bring nothing but short moments of satisfaction.
Since the hero himself does not consider his life to be something valuable, he begins to play with it. His desire to enrage Grushnitsky or turn his gun on himself, as well as the test of fate in the chapter “Fatalist” - all these are manifestations of morbid curiosity generated by the hero’s boredom and inner emptiness. He does not think about the consequences of his actions, be it even his death or the death of another person. Pechorin is interested in observation and analysis, not the future.
It is thanks to the hero’s introspection that Pechorin’s characterization can be completed, since he himself explains many of his actions. He has studied himself well and perceives each of his emotions as an object for observation. He sees himself as if from the outside, which brings him closer to the readers and allows us to evaluate Pechorin’s actions from his own point of view.
Here are the main points that should be contained a brief description of Pechorina. In fact, his personality is much more complex and multifaceted. And it’s unlikely that a characterization can help to understand it. Pechorin needs to be found within himself, to feel what he feels, and then his personality will become clear to the heroes of our time.
