The hero of our time is the role of composition. What is the originality of the composition of the novel "Quiet Flows the Don"? (Sholokhov M

"Hero of Our Time" - the first lyricist in Russian prose psychological romance... Lyrical because the author and the hero have "one soul, the same torment." Psychological because the ideological and plot center is not events, but a person's personality, his spiritual life. Therefore, the psychological wealth of the novel lies primarily in the image of the "hero of the time." Through the complexity and contradictions of Pechorina, Lermontov affirms the idea that it is impossible to fully explain everything: in life there is always a high and secret, which is deeper than words, ideas.

Hence, one of the features of the composition is the growing disclosure of secrets. Lermontov leads the reader from Pechorin's actions (in the first three stories) to their motives (in stories 4 and 5), that is, from riddle to solution. At the same time, we understand that the secret is not Pechorin's actions, but his inner world, psychology.

In the first three novellas (Bela, Maxim Maksimych, Taman), only the hero's actions are presented.

Lermontov demonstrates examples of Pechorin's indifference, cruelty to the people around him, shown either as victims of his passions (Bela), or as victims of his cold calculation (poor smugglers). The conclusion involuntarily suggests itself that egoism is also Pechorin's psychological nerve: "What does it matter to me, a wandering officer, to human joys and disasters?"

But not everything is so simple. The hero is not at all the same type. Before us is simultaneously a conscientious, vulnerable and deeply suffering person. In "Princess Mary" Pechorin's sober report sounds. He understands the hidden mechanism of his psychology: "There are two people in me: one lives in the full sense of the word, the other thinks and judges him." And later, Grigory Aleksandrovich openly formulates his life credo: “I look at suffering to the joy of others only in relation to myself, as food that supports my spiritual strength ...” On the basis of this rule, Pechorin develops a whole theory of happiness: “To be for someone- some cause of suffering and joy, without having any positive right to do so - isn't this the sweetest food of our pride? What is happiness? Saturated pride. " It would seem that the clever Pechorin, who knows what happiness consists in, should be happy, because he is constantly and indefatigably trying to satiate his pride. But for some reason there is no happiness, and instead of it fatigue and boredom ... Why is the hero's fate so tragic?

The answer to this question is last story"Fatalist". Here problems are solved not so much psychological as philosophical and moral.

The story begins with a philosophical dispute between Pechorin and Vulich about predestination human life... Vulich is a fatalist. Pechorin asks the question: "If there are definitely predestinations, then why are we given will, reason?" This dispute is verified by three examples, three deadly battles with fate. First, Vulich's attempt to kill himself with a shot in the temple, which ended in failure; second, the accidental murder of Vulich in the street by a drunken Cossack; third, Pechorin's courageous attack on the Cossack assassin. Without denying the very idea of ​​fatalism, Lermontov leads to the idea that it is impossible to humble ourselves, to be submissive to fate. By such a turn philosophical theme the author saved the novel from a dark ending. Pechorin, whose death is unexpectedly reported in the middle of the story, in this last story is not only saved from seemingly certain death; but also for the first time performs an act that benefits people. And instead of a mourning march in the finale of the novel, congratulations are heard on the victory over death: “the officers congratulated me - and there was definitely something to do with it”.

The hero is ambivalent about the fatalism of his ancestors: on the one hand, he sneers at their naive faith in the heavenly bodies, on the other hand, he frankly envies their faith, since he understands that any faith is good. But rejecting the old naive faith, he realizes that in his time, the 30s, there was nothing to replace the lost ideals. Pechorin's misfortune is that he doubts not only the necessity of good in general; for him, not only are there no shrines, he laughs "at everything in the world ...". And unbelief gives rise to either inaction or empty activity, which is torture for an intelligent and energetic person.

Showing the courage of his hero, Lermontov simultaneously affirmed the need to fight for personal freedom. Grigory Aleksandrovich values ​​his freedom very much: "I am ready for all sacrifices, except for this one: I will put my life on the line twenty times, but I will not sell my freedom." But such freedom without humanistic ideals is connected with the fact that Pechorin is constantly trying to suppress the voice of his heart: "I have long been living not with my heart, but with my head."

However, Pechorin is not a smug cynic. Fulfilling "the role of an executioner or an ax in the hands of fate", he himself suffers from this no less than his victims, the whole novel is a hymn to a courageous person free from prejudices and at the same time a requiem for a gifted, or maybe to a genius, who could not "guess his high assignment."

The beautiful and majestic nature contrasts with the petty, unchanging interests of people and their suffering. The restless, capricious element of the sea contributes to the romance in which the smugglers from the Taman chapter appear before us. The morning landscape, full of freshness, including golden clouds, is the exposition of the chapter "Maksim Maksimych". Nature in "Princess Mary" becomes psychological remedy disclosure of the character of Pechorin. Before the duel - by contrast - a radiance is introduced sunlight, and after the fight the sun will seem dim to the hero, and its rays no longer warm. In Fatalist, the cold light of shining stars on a dark blue vault directs Pechorin to philosophical reflections about predestination and fate.

In general, this work is a socio-psychological and philosophical novel, akin to a travel novel, close to travel notes. The genre of the psychological novel required the creation of a new novel structure and a special psychological plot, where Lermontov separated the author from the hero and arranged the stories in a special sequence.

Bela is a work that combines travel sketch and a short story about the love of a European for a savage.

“Maksim Maksimych” is a story with a central episode, given in close-up.

"Taman" is a synthesis of a short story and a travel sketch with an unexpected ending.

"Princess Mary" - "secular story" psychological nature with the hero's diary and a satirical sketch of the mores of the "water society".

“Fatalist” is a philosophical tale combined with a “mystical tale” about a fatal shot and a “mysterious incident”.

But all of these genre forms, individual narratives became Lermontov's parts of a single whole - the study of the spiritual world modern hero, whose personality and destiny unite the whole story. The prehistory of Pechorin is deliberately excluded, which gives his biography a trait of mystery.

It is interesting to know what is the second person in Pechorin who thinks and condemns himself first of all. In "Pechorin's Journal" the character of the hero is revealed, as it were "from the inside", it reveals the motives of his strange actions, his attitude towards himself, self-esteem.

For Lermontov, not only the actions of a person were always important, but their motivation, which, for one reason or another, could not be realized.

Pechorin compares favorably with the rest of the characters in that he is disturbed by questions of conscious human existence - about the purpose and meaning of human life, about its purpose. He is worried that his only purpose is to destroy other people's hopes. He is indifferent even to his life. Only curiosity, the expectation of something new excites him.

However, asserting its human dignity Pechorin actively acts, resists circumstances throughout the entire novel. Pechorin judges and executes himself, and this is his right is emphasized by the composition, in which the latter is Pechorin. Everything important that was hidden from the people around him, who lived next to him, who loved him, was conveyed by Pechorin himself.

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The novel by Mikhail Yuryevich Lermontov is a socio-psychological novel. Lermontov wanted to reveal all the secrets in the novel "Hero of Our Time" human soul... The novel was written at a time when a person could not express his opinion without suffering. The novel is written and consists of many stories collected in one work.

Stories are written in different ways chronological order, but this does not lose its meaning. Each of them can exist separately, because they describe different events that happened in Pechorin's life. Throughout the novel, a person tries to find himself, but does not know what he wants to be in reality.

Mikhail Yurievich took as a basis the disclosure of the character of the main character Pechorin. Lermontov changed the order of chapters more than once, he wanted to build an ideal order in his novel. Mikhail Yuryevich wanted to build a philosophical order so that the reader could understand what was being discussed.

Lermontov's novel consists of five novellas, but they are arranged in a chaotic manner. First, the stories that end the life of Pechorin are exhibited, and then the events that happened to the main character earlier. In each of the stories, the Russian officer wants to find a place for himself in this world, but he just cannot decide. He gets bored with girls very quickly and loves no one.

The novel begins with the fact that Pechorin is fond of the girl Bela and decides to steal her from her lover, but at that moment he does not know that she will quickly bore him. He sharpens the girl in the fortress, where he himself is, but after a while Pechorin becomes bored and he does not understand why he stole her because he could not love her. Pechorin wants freedom so much and does not like it when they try to shackle him in their actions. The officer is trying to escape from the fortress somewhere in the distance in order to find himself and his place. In the last concluding story, Pechorin nevertheless returns to the fortress from which he fled.

In the first story "Bela" the reader gets to know Pechorin from the words of his friend Maksim Maksimych. He describes that the officer is a romantic and stole the girl because he fell in love with her. Another story, the title of which is "Maxim Maksimych", reveals the image of Pechorin from the words of the narrator. It is in it that appearance Grigory Aleksandrovich Pechorin and the myth and his romanticism are destroyed. In the rest of the novel, stage by stage, the kind and bright image of Pechorin is destroyed.

In the final part of the novel "Fatalist" Mikhail Yuryevich writes that Pechorin should draw conclusions about his life. Pechorin believes that not everything is so simple and he should think about how he behaved throughout the entire time. He made certain conclusions about his life and would very much like to correct some points. Grigory Alexandrovich is ready to fight fate, but the reader understands that this will lead to the quick death of Pechorin. Lermontov wanted to reveal the whole essence of the human soul, namely Grigory Alexandrovich Pechorin. Mikhail Yurievich highlighted the realistic characterization of a Russian officer who was looking for himself in life and made many mistakes.

Roman M.Yu. Lermontov's "A Hero of Our Time" was released in 1840. The work is written in five parts. Five separate stories unite the main character- Pechorin Grigory Alexandrovich. The very construction of the novel (its composition) does not have a clear chronology. The arrangement of the stories in the existing order is intended to solve certain artistic problems.

The first part of the novel consists of two novellas: Bela and Maxim Maksimych. The narration goes on behalf of Maxim Maksimovich. He tells a third person about Pechorin, who in the following chapters will narrate himself on behalf of the author. Bela describes the tragedy of a young Circassian girl. The hero of the novel, languishing with boredom, first steals a horse, and then Bela. Disregard for the traditions of the highlanders leads to a terrible ending. Bela and her father are killed by the robber Kazbich. An associate of Pechorin, Azamat, is forced to leave his family forever.

Describing Pechorin in Maksim Maksimych, Lermontov also gives a description of Maksimych himself. Featuring two types of people, two different nature, the author contrasts them to each other. The two heroes met. But in general, there is nothing to tell them about. Maxim Maksimovich, no matter how hard he tried, failed to comprehend the inner world of Pechorin.

In "Taman" the hero of the novel is shown as bold and decisive. A chance encounter with smugglers could lead to his death. Comparisons with the smugglers of Grigory Pechorin are not in his favor. Reckless courage and cruelty are justified by the way of life they are forced to lead. Pechorin has no motivation for such actions.

The apotheosis of the plot of the novel is Princess Mary. Here the hero finds himself in his usual environment - in the society of aristocrats. For these people, behind the outer veneer, farce and intrigue, meanness and lies, gossip and hypocrisy quite coexist. Pechorin is an inseparable part of this world. The lack of a moral principle does not give him a chance to be happy in love. Going to a duel with Grushnitsky, Grigory Alexandrovich thought about the meaning own life... But I didn't find it.

Concludes the novel "Fatalist". Talking about the past, Pechorin believes that "fate" is to blame for all misadventures. The idea that a person himself chooses between Good and Evil does not come to his mind.

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M. Yu. Lermontov wrote that in the novel "A Hero of Our Time" he wanted to investigate "the history of the human soul", which is "almost more curious and not more useful than the history of an entire people." The entire plot-compositional structure of the work is subordinated to this goal.

"A Hero of Our Time" includes five stories, each of which tells about a extraordinary story in the life of Pechorin. Moreover, in the arrangement of the stories ("Bela", "Maxim Maksimych", "Taman", "Princess Mary", "Fatalist") Lermontov violates the vital chronology of the episodes of the novel. In reality, the events took place in the following order: Pechorin's meeting with smugglers in Taman ("Taman"); the hero's life in Pyatigorsk, his romance with Princess Mary, duel with Grushnitsky ("Princess Mary"); stay of Grigory Alexandrovich in the fortress N (at the same time the story with Bela takes place) (“Bela”); Pechorin's two-week trip to the Cossack village, a dispute with Vuli-than about predestination, and then again returning to the fortress ("Fatalist"); meeting with Maksim Maksimych on the way to Persia (“Maksim Maksimych”); death of Pechorin (Preface to "Pechorin's Journal").

Thus, Lermontov ends the novel not with the death of the hero, but with the episode where Pechorin, being exposed to mortal danger, nevertheless escaped death. Moreover, in the story "Fatalist" the hero casts doubt on the existence of predestination, fate, giving priority to his own forces and intellect. Thus, the writer does not relieve Pechorin of responsibility for all the actions he committed, including those that he committed after staying in Cossack village... However, Lermontov talks about this at the end of the novel, when readers already know the story with Bela, when they read about the hero's meeting with the staff captain. How can such a discrepancy be explained?

The fact is that Pechorin's character is static, the novel does not represent the evolution of the hero, his spiritual growth, we do not see the internal changes taking place with him. Lermontov only varies life situations and guides his hero along them.

Thanks to the specific composition, Lermontov depicts the hero in a "triple perception": first through the eyes of Maxim Maksimych, then the publisher, then Pechorin talks about himself in his diary. A similar technique was used by A. Pushkin in the short story "Shot". The meaning of such a composition consists in the gradual disclosure of the character of the hero (from external to internal), when the author first intrigues the reader with the unusual situations, actions of the hero, and then reveals the motives of his behavior.

First, we learn about Pechorin from the publisher's conversation with Maxim Maksimych. The publisher is going "on the checkpoints from Tiflis." In the story "Bela" he describes his travel impressions, the beauty of nature. His fellow traveler is the staff captain, who has served in the Caucasus for a long time. Maxim Maksimych tells his fellow traveler the story of Bela. Thus, "an adventurous novel is included in the" journey ", and vice versa - the" journey "is included in the novel as an element inhibiting its presentation."

The story of the captain, thus, is interspersed with his remarks, remarks of the listener, landscapes, descriptions of the difficulties of the heroes' path. The writer undertakes this "inhibition" of the plot of the "main story" in order to intrigue the reader even more, so that the middle and the ending of the story are in sharp contrast.

Pechorin's "Caucasian history" is given in the perception of Maxim Maksimych, who has long known Pechorin, loves him, but does not understand his behavior at all. The staff captain is simple-minded, his spiritual needs are small - the inner world of Pechorin is incomprehensible to him. Hence - the strangeness, the mysteriousness of Pechorin, the improbability of his actions. Hence the special poetry of the narrative. As Belinsky notes, the captain “told it in his own way, in his own language; but from this she not only did not lose anything, but gained infinitely much. Good Maksim Maksimych, without knowing it, became a poet, so that in every word of him, in every expression there is an endless world of poetry. "

In "Bela" we see the world of highlanders - strong, fearless people, with wild morals, customs, but holistic characters and feelings. Against their background, the contradictoriness of the hero's consciousness, the painful duality of his nature, becomes noticeable. But here the cruelty of Pechorin becomes especially noticeable. The Circassians in Bela are also cruel. But for them this behavior is "the norm": it corresponds to their customs, temperament. Even Maxim Maksimych admits the justice of the highlanders' actions. Pechorin is an educated, well-mannered young man with a deep, analytical mind. In this sense, such behavior is unnatural for him.

However, the captain never criticizes Pechorin, although in his heart he often condemns him. Maxim Maksimych here embodies the morality of common sense, "who forgives evil wherever he sees its necessity or impossibility of its destruction" (Lermontov "A Hero of Our Time"). However, for Lermontov, such behavior is the spiritual limitation of the staff captain. Behind the reasoning of the "publisher", amazed by the flexibility of the mind and common sense of the Russian person, one can guess the idea of ​​the author himself about the need to fight evil, regardless of any extraneous conditions.

The story "Bela" is a kind of exposition in the disclosure of the image of Pechorin. Here we first learn about the hero and his life circumstances, his upbringing, way of life.

Further, the "publisher", a passing officer and a writer, tells about the hero. In the perception of the "publisher" the meeting of Pechorin with Maxim Maksimych and a detailed psychological picture hero (story "Maxim Maksimych"),

In this story, practically nothing happens - there is no plot dynamism that is present in Bela and Taman. However, it is here that the psychology of the hero begins to unfold. It seems that this story can be considered a tie in the disclosure of the image of Pechorin.

"Taman" is the story of Pechorin's relationship with "honest smugglers". As in Bela, Lermontov again places the hero in an environment alien to him - the world of simple, rude people, smugglers. However, the romantic motive here (the love of a civilized hero and a "savage") is almost parodied: Lermontov very quickly reveals true character relations between Pechorin and "undine". As B. M. Eikhenbaum notes, "in Taman, a touch of naive 'Russoism" is removed, which may appear to the reader in Bela. "

An undine beauty from a wild, free, romantic world turns out to be a smugglers' assistant. She is manly decisive and insidious: Pechorin miraculously manages to avoid death in a fight with her. Thus, the world of nature and civilization are again incompatible with Lermontov. However, in a certain sense the story restores the semantic balance in the novel. If in "Bela" Pechorin rudely intrudes into the measured course of life of the mountaineers and destroys it, "insulting" nature itself in their face, then in "Taman" " natural world"Does not want to endure outside interference anymore and almost takes Pechorin's life.

As in "Bela", in "Taman" the hero is compared with the surrounding characters. Courage and prowess coexist in the characters of smugglers with heartlessness and cruelty. Having withdrawn from permanent place, they abandon the blind boy, the unhappy old woman, to the mercy of fate. In their eyes, human life has no value: an undine could easily have drowned Pechorin if he had not resisted. But these traits in the heroes are psychologically motivated and justified by their "wild, homeless life", belonging to the "underworld", the constant threat of danger, the constant struggle for survival.

But, noting the courage and heartlessness in Pechorin's character, we do not find such motivations in his life. For smugglers (as well as for the highlanders in “Bela”) this behavior is “the norm”. For Pechorin, it is unnatural.

The next part of the story, "Princess Mary", reminds us of a secular story and a psychological novel at the same time. Pechorin is depicted here surrounded by people of his circle - the secular aristocracy, gathered on the waters. As BM Eikhenbaum notes, after the Pechorin fiasco, which he suffered in Taman, he “leaves the world of savages” and returns to a much more familiar and safe world of “noble young ladies and ladies” for him.

The hero has a lot in common with this society, although he does not want to admit it. So, Pechorin is well versed in the world of intrigue, gossip, slander and farce. He not only exposes the conspiracy against himself, but also punishes its initiator - he kills Grushnitsky in a duel. Out of boredom, Pechorin begins to court Princess Mary, but, having achieved her love, frankly confesses to her his own indifference. Vera appears in Kislovodsk, the only woman whom Pechorin “could never have deceived”, but he cannot give her happiness either.

Failure in love - in Russian literature, perhaps the brightest and most significant characteristic of a character, which is a prerequisite for failure life position hero. Pechorin is morally untenable, and in the story "Princess Mary" he thinks about it, analyzes his own character, his thoughts and feelings. The story is the culmination in understanding the image of Pechorin. It is here that he reveals his psychology, his life attitudes.

Before the duel with Grushnitsky, he reflects on the meaning of his own life and does not find it: “Why did I live? for what purpose was I born? .. And surely it existed, and, probably, it was a high assignment, because I feel immense strength in my soul, but I did not guess this assignment, I was carried away by the lures of empty and ungrateful passions; from their furnace I came out hard and cold as iron, but I have lost forever the ardor of noble aspirations, best color life ... ".

"Princess Mary" in a certain sense is also a denouement in Pechorin's storyline: here he brings to its logical conclusion human connections: kills Grushnitsky, speaks openly with Mary, breaks with Werner, breaks up with Vera.

In addition, it is worth noting the similarity of the plot situations of the three stories - "Bela", "Taman" and "Princess Mary". Each of them arises love triangle: he - she - the rival. Thus, trying to avoid boredom, Pechorin finds himself in similar life situations.

The last tale that ends the novel is called The Fatalist. In revealing the image of Pechorin, she plays the role of an epilogue. Lermontov raises here philosophical problem fate, fate, fate.

Vulich dies in the story, as Pechorin predicted, and this suggests that predestination exists. But Pechorin himself decided to try his luck and remained alive, the hero's thoughts are already more optimistic: “... how often we take for conviction a deception of feelings or a mistake of reason! ... I like to doubt everything: this disposition of mind does not interfere with the decisiveness of character - on the contrary As for me, I always go forward more boldly when I don't know what awaits me. "

Thus, the completion of "A Hero of Our Time" philosophical story meaningfully. Pechorin often does evil, knowing full well true meaning their actions. However, the hero's "ideology" allows him to do this. Pechorin himself is inclined to explain his vices by evil fate or fate, life circumstances and so on. “Since I live and act,” the hero notes, “fate has always led me to the denouement of other people's dramas, as if no one could die or despair without me. I was like a necessary person in the fifth act: I involuntarily played the miserable role of an executioner or a traitor. " Lermontov does not relieve Pechorin of responsibility for his actions, recognizing the autonomy of the hero's free will, his ability to choose between good and evil.

Thus, the novel is imbued with a unity of thought. As Belinsky noted, “the line of the circle returns to the point from which it left” 1. The main idea of ​​the novel is the question of the inner man, about his actions and inclinations, thoughts and feelings and the reasons that gave rise to them.

"Hero of our time"- the first prosaic socio-psychological and philosophical novel in Russian literature. Each individual story included in the novel is associated with a genre tradition that already existed: a travel sketch, a Caucasian story, a secular story. But on the whole, "A Hero of Our Time" is a qualitatively new phenomenon, a novel, distinguished by its sharpness in posing the most important problems of a social, moral, and philosophical nature. Sociality the novel is expressed in the fact that the actions of its heroes are ultimately determined, conditioned by historical time and environment. Many of Pechorin's actions and properties are revealed and explained through his collisions with “ common man"Maxim Maksimych, with" natural people "- mountaineers, smugglers, who, in turn, receive an objective assessment, being involved in the system of new relations of" civilized "society.

The depth of Lermontov's idea is precisely manifested in the fact that the novel is consistently subjected to objective study: the hero and time, man and epoch; their mutual dependence is established. This approach to depicting a person and the environment predetermined the possibility of a new approach to the "history of the human soul", allowing one to penetrate into the very depths inner peace personality. Lermontov's idea was that the “self-disclosure” of the hero is combined and corrected by looking at him “from the outside”, and this made it possible to perceive the complexity and inconsistency in a more volumetric manner. human character... This opened up an opportunity for posing the most important problems of a philosophical nature: man and destiny, the purpose and meaning of life, the clash of good and evil in the human soul, free will and necessity, etc. Most distinctly philosophical issues the novel appeared in the final story "The Fatalist". Pechorin, who for the first time in his life decided to sacrifice himself for the sake of other people, ponders questions about the role of fate in human life.

He does not come to any clear logical formulations, but the very direction of his thinking is significant: he resolutely rejects blind faith in fate: "I always go forward more boldly when I do not know what awaits me." Unusual composition"A Hero of Our Time".

"A Hero of Our Time" can be described as a socio-psychological novel. M.Yu. Lermontov in his work shows the reader the era of the change of ideals in Russian history. Grigory Pechorin (as well as the author himself) can be attributed to the so-called " lost generation”, Because after the Decembrist uprising, which failed, society has not yet acquired new ideals and goals.

Throughout the entire work, the character of Pechorin is revealed to the reader, and the composition of the novel serves to solve this artistic problem.

In "A Hero of Our Time" there is no traditional compositional articulation of the text. There is no exposition, since the reader knows little about the life of the protagonist before his arrival in the Caucasus. There is also no tie, and the action is represented by a number of episodes telling about the life of Pechorin. The combination of several plot lines forms the polyphonic structure of the novel, which consists of five separate stories. That is why the reader sees five culminations in the work at the same time. The denouement of the novel can be considered the moment of Pechorin's death, when the main character dies, returning from Persia. Thus, it can be noted that the total story line consists only of climaxes and denouements. But an interesting fact is that in each story separately, one can note the presence of the traditional compositional division of the text. Take, for example, the first part of the novel "Bela", in which the plot of the story is a conversation between Bela's brother and Kazbich, which Pechorin accidentally learns about. The direct exposition is the moment when the storyteller-officer meets the retired staff captain Maxim Maksimovich. The culmination is the scene of Bela's abduction by Pechorin. And the denouement is Bela's death at the hands of Kazbich, who is in love with her, whose mind was clouded with jealousy and a desire for revenge.

The first thing that catches the reader's eye is the violation of the chronological sequence in the course of the narrative. That is why the denouement is in the middle of the text. Thus, the author gradually revealed the character of the protagonist. At first, readers saw him through the eyes of an officer-narrator and Maxim Maksimovich, and then they got acquainted with Pechorin's diary, in which he was extremely frank.

The composition of "A Hero of Our Time" is also unique in that Lermontov characterizes his hero at moments of peak life experiences, such as the case with smugglers, a duel with his former comrade Grushnitsky, a fight with a drunken Cossack murderer Vulich.

In the novel "A Hero of Our Time", the method of a ring composition is traced, since we meet Pechorin in the fortress, where he served with Maxim Maksimovich, and in the same place we see the hero in last time before leaving for Persia. It is also characteristic that at the beginning and at the end of the novel there are two heroes - Pechorin and Maxim Maksimovich. Also in the work we meet others compositional techniques such as a novel in a novel is the diary of the protagonist. Another technique is silence, namely, a story about a certain story, after which Pechorin was exiled to the Caucasus. There is also a flashback when the main character meets his longtime sweetheart Faith.

It should be noted that the composition of the novel "A Hero of Our Time" is interesting, unusual and carries a lot of innovation.