“I shook her hand twice... the second time she pulled it away without saying a word.

“I’m going to sleep poorly this night,” she told me when the mazurka ended.

- The beggar Grush is to blame for this.

- Oh no! - And her face. I felt so thoughtful, so sad that I promised myself that evening I would definitely kiss her hand.

They began to leave. Putting the princess into the carriage, I quickly pressed her small hand to my lips. It was dark and no one could see it.

I returned to the hall very pleased with myself.”

This scene, like a drop of water, reflected Pechorin’s entire plan regarding Princess Mary and Grushnitsky. Here the flying psychologism of M. Yu. Lermontov himself was superbly expressed. Each phrase, despite their external emptiness, implies a whole line of thought and hidden desires. Before our eyes, secular play is intertwined with real feelings. Pechorin directs the princess’s thoughts and feelings “from the opposite direction,” forcing her to first pull out her hand and then deny her words. By this he disguises his own leadership of events, recognizes the extent of the princess’s immersion in the game he proposed and emphasizes the name of Grushnitsky as undesirable. At the same time, it does not matter at all that the princess did not agree with his statement; it was important to indirectly point out Pechorin’s rivalry with Grushnitsky, to convince the girl at the level of almost NLP programming that Pechorin was actually involved in the fight for her heart.

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• Analysis of works of Russian literature, grade 11

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Mikhail Yuryevich Lermontov can rightfully be called a great personality, a brilliant poet and prose writer. Despite his early death, he left his descendants a huge literary heritage.
Lermontov's novel “Hero of Our Time” is called innovative. In describing the character of his main character, Pechorin, the author used deep psychologism. This was a great innovation.
Taking the theme of Pushkin's novel in verse as a basis, Lermontov created a unique work, unlike anything else. His novel consists of several stories arranged contrary to chronological order. First we see the hero through the eyes of other characters, then he himself analyzes his soul in his diary. Perhaps the most profound character of Pechorin appears before the reader in the story “Princess Mary”.
Pechorin met the young princess in Kislovodsk. His blood was stirred by the opportunity to lure her attention from the pretentious Grushnitsky to himself. But the hero began to play again. The further he went, the more he wanted absolute power over the personality of the young girl. In relation to Mary, Pechorin does not see the lines between good and evil and does not recognize any moral restrictions. Through precise calculation, he makes the princess fall in love with him and even, it seems, is carried away by her himself.
But these feelings, like everything that Pechorin experiences, turned out to be short-lived. However, the girl is in love. She does not fully understand the nature of Pechorin’s feelings for her and brings herself to a nervous breakdown. The hero realizes that he has played too much, and it’s time to “dot the i’s.” Before leaving for fortress N, he comes to Mary to explain himself.
When the princess comes out to Pechorin, we see how sick she is: “Having reached the middle of the room, she staggered... Her large eyes, filled with inexplicable sadness, seemed to be looking for something similar to hope in mine... Her gentle hands folded on her knees, were so thin and transparent that I felt sorry for her.”
Love did not bring the expected joy, delight, or happiness. Along with these emotions came suffering, uncertainty, and constant nervous tension. It is important to note that in the hero’s soul there is not a “spark of love for dear Mary.” He feels only pity for the victim of his vanity and selfishness.
How to help a girl stop loving herself? Drown out love in her with hatred and contempt. This is exactly what Pechorin decided to do. He admits to Mary that he laughed at her, pretending to be a lover, and leads her to the conclusion: “Consequently, you cannot love me...”. I don’t think the princess expected such a turn of events. This is evidenced by her behavior: “She turned away, leaned her elbows on the table, covered her eyes with her hand, and... tears flashed in them.”
Pechorin admits to himself that at that moment he was ready to fall at her feet. This means that feelings still live in this person, which he often hides from himself. If Mary were indifferent to him, he would not feel sorry for her so keenly. And this pity indirectly speaks of the hero’s repentance. He began his game by attracting the attention of a young girl. All the moves in this game were planned out in advance. Pechorin did not expect only one thing - his passion for the princess. Then, at one moment, it seemed to the hero that he himself had fallen in love. But, as always, this was not for long.
The tenderness remaining inside makes Pechorin’s explanation with Mary very difficult. He again plays the role, not allowing himself to show true emotions. Therefore, the hero pronounces the most cruel phrases “with a forced grin” and “a firm voice.”
Grigory Alexandrovich tells Mary about the impossibility of marrying her: “You yourself see that I cannot marry you, even if you wanted this now, you would soon repent.” Pechorin is not lying in this phrase. Indeed, his marriage to the princess would have brought nothing but suffering to the young girl. The hero is aware of his inconstancy in feelings. He could be happy with Mary for a very short time. Then the long-familiar boredom would set in.
Pechorin tramples Mary’s love, helping her quickly get rid of this feeling: “You see, I play the most pathetic and disgusting role in your eyes, and I even admit it; that's all I can do for you... You see, I am low to you. Isn’t it true, even if you loved me, from now on you despise me?” Of course, his words had the desired effect. “I hate you,” Mary says to Pechorin. At this point the heroes part.
Pechorin explained to Mary. Was this act honest? Maybe. But now this young girl will feel deceived and insulted in her best feelings for a long time. Her life is just beginning, but after Pechorin she will be poisoned by distrust of others. Mary will probably never be happy again. Pechorin’s act is cruel not even because he deceived the young princess, but because with his cruel game he ruined her young life. Mary will remember this terrible lesson for a long time.

Essay on literature on the topic: Pechorin’s last conversation with Princess Mary (analysis of an episode from the chapter “Princess Mary” of M. Yu. Lermontov’s novel “A Hero of Our Time”)

Other writings:

1. Mikhail Yuryevich Lermontov is one of the few writers in world literature whose prose and lyrical works are equally perfect. In the last years of his life, Lermontov created his surprisingly deep novel “A Hero of Our Time” (1838 - 1841). This work can be called an example of socio-psychological Read More......
2. Lermontov’s novel “Hero of Our Time” is an amazing and interesting work. The composition of the novel itself is unusual. Firstly, the work consists of stories, which in itself is extraordinary. Secondly, they are not arranged chronologically, as is traditionally customary. All stories are divided into two parts: Read More ......
3. The story “Princess Mary” can be called one of the main parts of Lermontov’s novel “A Hero of Our Time”. It is here that, in my opinion, the inner world of the main character of the novel, the young nobleman Pechorin, is revealed to the greatest extent. The narration in this story is in the first person, Read More......
4. In M. Yu. Lermontov’s novel “A Hero of Our Time,” the episode of the last meeting between Pechorin and Maxim Maksimych, at first glance, is not the most significant and, one might say, not at all significant for those events that the reader will learn about in the future. The story itself “Maxim Read More ......
5. And we hate, and we love by chance, Without sacrificing anything, neither malice nor love, And some kind of secret cold reigns in the soul, When fire boils in the blood. These Lermontov lines perfectly characterize the “hero of his time” - Pechorin. In verse Read More......
6. The main theme of the novel “A Hero of Our Time” is the depiction of the socially typical personality of the noble circle after the defeat of the Decembrists. The main idea is the condemnation of this individual and the social environment that gave birth to him. Pechorin is the central figure of the novel, its driving force. He is Onegin's successor - “an extra man.” Read More......
7. Princess Mary.- This central part of Pechorin’s notes most widely represents Lermontov’s contemporary “society”, the life and customs of visitors to the Caucasian mineral waters. According to memoirists, many of the characters in the story had their own prototypes. It was believed, for example, that Grushnitsky was copied from N.P. Kolyubakin (1811-1868), a bully, Read More ......
8. “And what do I care about the joys and misfortunes of men?” M. Yu. Lermontov In Lermontov’s novel “Hero of Our Time,” the burning question is resolved: why people, smart and energetic, do not find use for their remarkable abilities and wither without a fight at the very beginning Read More ......

Pechorin’s last conversation with Princess Mary (analysis of an episode from the chapter “Princess Mary” of M. Yu. Lermontov’s novel “A Hero of Our Time”)

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Pechorin's love for Vera is a great and sincere feeling. The consciousness that he is losing Verun forever causes an irresistible desire to hold on to the “lost happiness.” Pechorin's sincere impulse, his excitement, forcing the hero to madly drive his horse, determines the nature of the story. Everything here is movement! Pechorin is in a hurry, worried, he has no time for the pictures flashing before his eyes, he does not write about them because he does not notice the surrounding nature. One thought dominates him: to catch up with Vera at all costs. The choice of words and the nature of sentences expresses this desire. The Pechora moves and does not describe anything, and therefore there are no adjective definitions in the text, but it is maximally saturated with verbs (there are thirteen verbs for five sentences).
Since the hero has no time to think, the general syntactic structure of the passage being analyzed seems natural: simple and terse sentences, often interrupted by ellipses, as if Pechorin, in a hurry, does not have time to think out or finish the thought. The hero’s excitement determines the emotionality of the intonations; many sentences end with exclamation marks. There are repetitions that emphasize the strength of Pechorin’s experiences: “one minute, one more minute to see her...”, “...Faith has become more dear to me than anything in the world, more valuable than life, honor, happiness.” Emotionality is manifested not only in exclamatory intonations, but also in the selection of words. Most of them denote human feelings and experiences. These are the nouns “impatience”, “worry”, “despair”, “happiness” and the verbs “cursed”, “cried”, “laughed”, “jumped, gasping for breath”.
The expressiveness of this passage is great, although there are almost no epithets, metaphors, comparisons here, except for a very convincing and weighty metaphorical comparison: “The thought... hit my heart with a hammer.” The description of the race, the hero's despair, his tears is one of the most moving places in the story. And how much this scene means for understanding Pechorin! Not a cold and calculating egoist, not a skeptic indifferent to himself and others, but a living, deeply feeling, endlessly suffering from loneliness and the inability to maintain happiness - this is the hero here.
The episode of farewell to Mary is also important for understanding Pechorin. It is often viewed incorrectly, believing that here the hero consistently brings a cruel game to the end, enjoying the opportunity to torment his victim once again. Indeed, Pechorin speaks merciless words to Mary and explains himself “frankly and rudely.” But, if you think about it, would it have been better for Mary if he, not considering it possible to get married, had left the girl with doubt as to whether she was loved? In this case, it would have been much more difficult for Mary to overcome her love for Pechorin because he would have remained a mystery in her eyes, a noble hero who stood up for her honor, but for some unknown reason refused her hand. The cruel truth is more likely to heal her than a kind lie. Maybe Pechorini understands this? His words are hardly accidental: “You see, I play the most pitiful and disgusting role in your eyes, and I even admit it; that’s all I can do for you.” Is it possible to take the hero’s phrase with full faith: “Princess... you know, . that I laughed at you! .."
After all, he laughed at Grushnitsky, but in his relationship with Mary there was a conscious game, which often captivated Pechorin himself, but not mockery. Contrary to this external cruelty is the feeling of pity and excitement that took possession of Pechorin when He saw the pale, emaciated Mary. “... Another minute and I would have fallen at her feet,” writes the hero.

. Princess Mary.)

Lermontov. Princess Mary. Feature film, 1955

...Our conversation began with slander: I began to sort through our acquaintances who were present and absent, first showing their funny, and then their bad sides. My bile became agitated. I started jokingly and ended with sincere anger. At first it amused her, and then it scared her.

– You are a dangerous person! - she told me, - I would rather fall under the knife of a murderer in the forest than to get caught on your tongue... I ask you not jokingly: when you decide to speak ill of me, you better take a knife and stab me - I think this is It won't be very difficult for you.

– Do I look like a murderer?..

- You are worse...

I thought for a minute and then said, looking deeply moved:

– Yes, this has been my lot since childhood. Everyone read on my face signs of bad feelings that were not there; but they were anticipated - and they were born. I was modest - I was accused of guile: I became secretive. I felt good and evil deeply; no one caressed me, everyone insulted me: I became vindictive; I was gloomy, - other children were cheerful and talkative; I felt superior to them - they put me lower. I became envious. I was ready to love the whole world, but no one understood me: and I learned to hate. My colorless youth passed in a struggle with myself and the world; Fearing ridicule, I buried my best feelings in the depths of my heart: they died there. I told the truth - they didn’t believe me: I began to deceive; Having learned well the light and springs of society, I became skilled in the science of life and saw how others were happy without art, freely enjoying the benefits that I so tirelessly sought. And then despair was born in my chest - not the despair that is treated with the barrel of a pistol, but cold, powerless despair, covered with courtesy and a good-natured smile. I became a moral cripple: one half of my soul did not exist, it dried up, evaporated, died, I cut it off and threw it away - while the other moved and lived at the service of everyone, and no one noticed this, because no one knew about the existence of the deceased its halves; but now you have awakened in me the memory of her, and I read her epitaph to you. To many, all epitaphs seem funny, but not to me, especially when I remember what lies underneath them. However, I do not ask you to share my opinion: if my prank seems funny to you, please laugh: I warn you that this will not upset me in the least.

At that moment I met her eyes: tears were running in them; her hand, leaning on mine, trembled; cheeks were burning; she felt sorry for me! Compassion, a feeling that all women so easily submit to, let its claws into her inexperienced heart. During the entire walk she was absent-minded and did not flirt with anyone - and this is a great sign!

See also articles

Pechorin's love for Vera is a great and sincere feeling. The consciousness that he is losing Faith forever causes an irresistible desire to retain the “lost happiness.” Pechorin's sincere impulse, his excitement, forcing the hero to madly drive his horse, determines the nature of the story. Everything here is movement! Pechorin is in a hurry, worried, he has no time for the pictures flashing before his eyes, he does not write about them because he does not notice the surrounding nature. One thought dominates him: to catch up with Vera at all costs. The choice of words and the nature of sentences expresses this desire. Pechorin acts, moves and does not describe anything, and therefore there are no adjective definitions in the text, but it is maximally saturated with verbs (there are thirteen verbs for five sentences).

Since the hero has no time to think, the general syntactic structure of the passage being analyzed turns out to be natural: simple and laconic sentences, often interrupted by ellipses, as if Pechorin, in a hurry, does not have time to think out or finish the thought. The hero’s excitement determines the emotionality of the intonations; many sentences end with exclamation marks. There are repetitions that emphasize the strength of Pechorin’s experiences: “one minute, one more minute to see her...”, “.... Faith has become dearer to me than anything in the world, dearer than life, honor, happiness.” Emotionality is manifested not only in exclamatory intonations, but also in the selection of words. Most of them denote human feelings and experiences. These are the nouns “impatience”, “worry”, “despair”, “happiness” and the verbs “cursed”, “cried”, “laughed”, “jumped, gasping for breath”.

The expressiveness of this passage is great, although there are almost no epithets, metaphors, comparisons here, except for a very convincing and weighty metaphorical comparison: “The thought... hit my heart with a hammer.” The description of the race, the hero's despair, his tears is one of the most moving places in the story. And how much this scene means for understanding Pechorin! Not a cold and calculating egoist, not a skeptic indifferent to himself and others, but a living, deeply feeling, endlessly suffering from loneliness and the inability to maintain happiness - such is the hero here.

The episode of farewell to Mary is also important for understanding Pechorin. It is often misconstrued as the hero consistently completing a cruel game, enjoying the opportunity to once again torture his victim. Indeed, Pechorin speaks merciless words to Mary and explains himself “frankly and rudely.” But, if you think about it, would it be better for Mary if he, not considering it possible to marry, left the girl with doubt about whether she was loved? In this case, it would have been much more difficult for Mary to overcome her love for Pechorin because he would have remained a mystery in her eyes, a noble hero who stood up for her honor, but for some reason unknown to her, refused her hand. A hard truth is more likely to cure her than a kind lie. Maybe Pechorin understands this? His words are hardly accidental: “You see, I play the most pathetic and disgusting role in your eyes, and I even admit it; that’s all I can do for you.” Is it possible to take the hero’s phrase with full faith: “Princess... you know... that I laughed at you!...”

After all, he laughed at Grushnitsky, but in his relationship with Mary there was a conscious game, which often captivated Pechorin himself, but not mockery. Contrary to this external cruelty is the feeling of pity and excitement that took possession of Pechorin when He saw the pale, emaciated Mary. “... Another minute and I would have fallen at her feet,” writes the hero.