What is society for a person? How important is it for each of us? To answer these questions, first of all, you need to understand what the words “society” and “person” mean. A person is a being with the gift of speech and thought, capable of creating something new. Despite the fact that the concepts of “personality” and “person” carry completely different semantic loads, in our time they are very close, in fact, they replace each other. However, a person is an outstanding person, noticeably different from the rest. Society is a group of people who, by the will of fate, found themselves together during a certain period of time or history. In society you can always find a person who stands out - an individual. Such people, as a rule, think about the state of the society in which they find themselves, and often express their dissatisfaction with the existing system, foundations, and ask themselves the question: is society for man or man for society?
The topic of “man and society” has worried many thinkers throughout our history.
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An example of this is the socio-psychological novel by M. Yu. Lermontov “A Hero of Our Time”. The main character of the works, Grigory Aleksandrovich Pechorin, is an extraordinary person, a dissenter. Him, like Pushkin's Onegin, can be placed in the gallery " extra people" These two images have a lot in common, however, the issue of human interaction with society in the case of Pechorin is more acute. He “madly chases after life,” but never gets anything from it. He refers precisely to those individuals who are bored with life, who despise its joys for meaninglessness and transience, and modern society because it does not value intelligence, knowledge, honor, or nobility. Examples of such a society in the novel are the so-called “ water society" This collective image representatives of the nobility, in whose behavior and life one can trace the features of the era - the first half of the nineteenth century, when people valued rank and idle pleasure above all else. Life and customs of visitors mineral waters, which Grigory Aleksandrovich is ironic about, are conditioned by history and traditions, reluctance and impossibility due to limited thinking to move forward. Pechorin notes with dissatisfaction the love of representatives of the “water society” for gossip and intrigue. In general, this entire society is contrasted with Pechorin, however, some heroes are also compared with him. For example, Grushnitsky, who is a kind of parody, a double of Pechorin - everything that Grigory has is the essence of his character, he has a posture put on display. He loves “lush phrases,” “drapes himself” into feelings without experiencing them, “producing an effect is his pleasure.” He and Pechorin are old friends who were “outwardly on the most friendly terms.” Grushnitsky is typical representative that society that is so alien to Grigory Alexandrovich, and therefore the conflict with it seems to Pechorin to be a conflict with the whole of society in particular. Pechorin is full of rebellious rejection of foundations and values existing society, so his attempts to get closer to people are completely fruitless. We can say that Pechorin is not a man for society, and society is not for him.
So, as a rule, in every society there are people who are very different from it, “extra people.” They are dissatisfied with the political, economic, social or cultural-moral picture existing in this society; in general, virtually everything that happens in this society. Often this society also refuses to understand such people - and they come into conflict; on the one hand - an individual, on the other - a group of people, on the other hand - society. Perhaps such a person is doomed to loneliness, because it is impossible to live in society and be free from it.
Updated: 2018-05-11
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The author calls human society watery. The definition is somewhat unclear and close to fabulous. Pechorin and the “water society” are part of the chapter “Princess Mary”. There the character finds himself among a society that is different from the secular one, but also similar to it in its main characteristics.
Water Society
Who does Pechorin call the water society and why? The epithet becomes clear after reading the chapter “Princess Mary”. The local nobility here mixes with guests arriving from the capital. This mixture gives interesting picture morals Who will outdo whom in terms of immorality? Both societies are “already good”; together they are even stronger. Why does he call it water? Because their goal is to improve health on the waters of Kislovodsk. Climate and healing water are not able to cure people's souls. It is here that it becomes clear that Pechorin’s disease is incurable. The man is trying to change something else around him, but everything is consumed by his selfishness and thirst for adventurism.
The water society has gathered near a clean source, but it resembles a swamp, drawing in and growing very quickly. Who does Gregory divide all the representatives of the new community into, and how does he treat them? These are steppe husbands, landowners, mistresses of local houses, vacationing dandies, numerous ladies and officers.
Steppe landowners
Fathers of families arrive in Pyatigorsk to find a successful match for their daughters. Their desire is to strengthen their financial condition. The St. Petersburg guards are mostly the sons of successful businessmen. The fate of the daughters is just an excuse. Landowners seek profit in any of their actions. The steppe husbands have worn out old-fashioned frock coats, but their daughters and wives are smart and sophisticated. In every man who passes by, they see the opportunity to create a couple. The sight of Pechorin at first evokes tender curiosity, but it quickly disappears and indignation appears. It is caused by army epaulets. This scene makes the reader smile bitterly.
Mistresses of the waters
Women's attitude towards the military is somewhat different, although the goal is the same: to find a husband or lover. Women delight Pechorin. They are able to maintain their cuteness for a very long time. What is the secret of this skill? Maybe in their inconstancy? Women have to constantly “be on guard”; behind every uniform they see a passionate heart. Men change from season to season, but women remain.
dandies
There are crowds of such men. They have no faces or personality. Pechorin says that they drink a lot and not water. That is, their goal of staying in the Caucasus is not to improve their health. As befits dandies, they hold a glass of healing water, choosing a picture pose - “academic”. They are all lazy, the dandies “drag around in passing,” looking for someone to gossip with, playing and complaining about the boredom that they themselves create. The dandies express contempt for provincial women, suffering about the capital's young ladies. But the reader understands that when they get to Moscow or St. Petersburg, their position changes. There they miss the ladies from the outback, expressing contempt for the aristocrats.
Uniformity of various types
Pechorin finds himself drawn into the life of society. The author proves that it is impossible for a person to remain outside the environment. Gregory becomes a part of it, albeit not the most terrible, but just as dissolute and cruel. What do “water people” do? They gossip, they lie, they deceive. They are drawn to create and imagine themselves as a hero, a leader, an activist. Holidays, balls, wine and food are addictive and it is almost impossible to imagine them in other conditions. It's scary that most society is the youth. It is also frightening that the military becomes the instigators of intrigue. Even they, people who have learned the value of life, like it here. Family relationships are based on deception, profit and pure calculation. Feelings go somewhere into the past, they are played with, gradually forgetting about sincerity and devotion. In aquatic society, the topic of conscience is not at all important. The duel turns into murder and a weapon of revenge. Pechorin treats others with disdain, but this does not add to his attractiveness. He's one of them here.
"A Hero of Our Time" is a socio-psychological novel in which the author set himself the task of revealing inner world hero, "to explore the human soul."
Lermontov is a romantic, so the problem of personality is central problem romanticism in the poet's work. However, the innovation of "A Hero of Our Time" lies in the fact that the conflict between the individual and the surrounding world is resolved using a variety of means, both romantic and realistic.
Pechorin – main character novel, is a social type. Traditionally, following Onegin, he is placed in the gallery of “extra people.”
The images of Pechorin and Onegin have a lot in common, from details, character traits, to the situations in which they find themselves. However, the conflict between the individual and society in “A Hero of Our Time” is more acute than in “Eugene Onegin,” since Pechorin “frantically chases after life,” but receives nothing from it, and Onegin simply “goes with the flow.”
The composition of the novel is subordinated to the main task that the author set for himself - solving the problem of personality. In Pechorin's journal, the central story is "Princess Mary", in which the character of the hero is revealed from the inside, that is, Lermontov uses such an artistic device as confession. All artistic media– portrait, landscape, dialogues, details – are of a psychological nature. In the story, with the help of an expanded figurative system The secret of the hero's character is revealed.
Lermontov, like many romantics, contrasts personality and society, and he places his hero in different environments, confronts him with different people. We can see this in the stories "Bela", "Taman" and "Princess Mary".
In the psychological story "Princess Mary" Pechorin's personality is contrasted with the "water society", the hero's attitude towards this society and society in general is shown. “Water Society” is a collective image of representatives of the local and metropolitan nobility, in whose behavior and life the features of the described era can be traced. The conflict between the individual and society is embodied not only in revealing the character of the main character, but also in the depiction of the “water society”, their life, interests, and entertainment.
Pechorin, with slight contempt, notices the carefully hidden envy of each other, the love of gossip and intrigue. The life and customs of visitors to the Caucasian mineral waters, which both the author himself and the main character are ironic about, are determined by history and traditions. The image of the “water society” is also given in parallel with the image of the secular society, which Pechorin mentions and which has more than once been the object of study in the works of Griboedov and Pushkin.
In general, the entire “water society” is opposed to Pechorin. However, it is still possible to identify heroes who are not only opposed to Pechorin, but also compared with him.
Grushnitsky is a kind of parody of Pechorin. What for Pechorin constitutes the essence of character, for Grushnitsky it is a pose designed to produce an effect, an impression on others. Grushnitsky is an anti-romantic hero. His penchant for romanticization is carried to the point of caricature. He shows off and often behaves inappropriately for the situation. In everyday life he looks for romantic circumstances, but in truly romantic situations he gets lost. Grushnitsky's participation in the duel is ignoble and vile, but he cannot refuse it, since he is very proud. There are many external details in his image (overcoat, crutch, limp, ring with the date of his acquaintance with Mary). Obviously, the image of Grushnitsky was created not without the influence of Lensky: both are romantics, both were killed in a duel, both are younger than their friend-enemy.
Werner is the only one male image, which is compared with Pechorin, and not opposed. Their similarities are manifested in their relationships with society, skepticism, and wit. But along with general features there are many differences in their characters. Pechorin is “madly chasing after life,” while Werner is passive. Werner is a less deep and complex nature than Pechorin. Before the duel, Pechorin admires nature, and Werner asks if he wrote his will. Werner's appearance shows romantic traits, but he is a contradictory nature.
All female images presented in the novel are also subordinated to the main task - revealing the image of Pechorin and showing his relationship to love. Of all the female characters, Princess Mary is depicted most fully. Like Grushnitsky, she is passionate about romanticism, she is young, smart, witty. The princess's purity and naivety makes Pechorin's selfishness even more obvious. The story of Mary's seduction is the reason for deep introspection and extensive internal monologues in Pechorin's diary. In a conversation with Mary, Pechorin talks about his fate (relationships with society, inclinations, quirks of character).
Faith is the most obscure image, incompletely outlined, and given only hints. This is the only one female image, which is compared with Pechorin. It is in his relationship with Vera that the tragedy of Pechorin’s situation is most fully felt, his inability to deeply and truly love: he doesn’t even need Vera. This emphasizes the loneliness of the hero, his inability to true feeling, reveals internal conflict hero. Romantic irony illuminates the relationship between Pechorin and Vera: Pechorin drives his horse, trying to catch up with Vera, and then falls asleep to Napoleon at Waterloo.
In addition, Lermontov pays attention a large number other, less noticeable, but also very important for creating a more complete picture of society, heroes who, without exception, are subject to the principle of typification, which speaks of the realism of the novel. In this case, the author proceeds from traditional types, relying on the creative experience of his predecessors, Griboyedov and Pushkin.
As soon as Pechorin arrives in Pyatigorsk, he becomes acquainted with the customs of the families of the steppe landowners: “... the St. Petersburg cut of the frock coat misled them, but soon recognizing the army epaulettes, they turned away indignantly.”
Here we learn about the wives of local bosses, “mistresses of the waters”: “...they pay less attention to the uniform, they are accustomed in the Caucasus to meet an ardent heart under a numbered button and an educated mind under a white cap.”
A special class in the “water society” is made up of men, civilians and military (Captain Dragunsky, who with his participation in the duel resembles Zaretsky). The “water youth” stands out separately. In general, it is difficult to imagine anything new that has not yet been depicted in the works of Griboyedov and Pushkin. The same passion for rank, sycophancy, the same balls, gossip, idle pastime, emptiness, which reign not as vices of society, but as elements public life. Everything is the same, only with the difference that we saw there secular society, and here it is provincial, which is trying with all its might to resemble the capital. Against the background of all this, it is impossible not to note with what irony not only specific images are drawn, but also the entire atmosphere.
Thus, the “water society” is not an accidental theme in the novel. The problem of the individual, her relationships with others are main task of Lermontov's entire work. At the same time, he is a continuator of the traditions of Russian literature of the 19th century century.
“A Hero of Our Time” is a socio-psychological novel in which the author set himself the task of revealing the inner world of the hero, “exploring the human soul.”
Lermontov is a romantic, therefore the problem of personality is the central problem of romanticism and, naturally, the poet’s work. However, the innovation of “A Hero of Our Time” lies in the fact that the conflict between the individual and the surrounding world is resolved using a variety of means, both romantic and realistic.
Pechorin, the main character of the novel, is a social type. Traditionally, following Onegin, he is placed in the gallery of “extra people.”
The images of Pechorin and Onegin have a lot in common, from details, character traits, to the situations in which they find themselves. However, the conflict between the individual and society in “A Hero of Our Time” is more acute than in “Eugene Onegin,” since Pechorin “frantically chases after life,” but receives nothing from it, and Onegin simply “goes with the flow.”
The composition of the novel is subordinated to the main task that the author set for himself - solving the problem of personality. In Pechorin’s journal, the central story is “Princess Mary,” in which the character of the hero is revealed from the inside, that is, Lermontov uses such artistic technique like a confession. All artistic means - portrait, landscape, dialogue, details - are psychological in nature. In the story, with the help of an expanded figurative system, the secret of the hero’s character is revealed.
Lermontov, like many romantics, contrasts personality and society, and he places his hero in different environments, pitting him against different people. We can see this in the stories “Bela”, “Taman” and “Princess Mary”.
In the psychological story “Princess Mary,” Pechorin’s personality is contrasted with the “water society,” and the hero’s attitude towards this society and society in general is shown. “Water Society” is a collective image of representatives of the local and metropolitan nobility, in whose behavior and life all characteristic features the era described. The conflict between the individual and society is embodied not only in revealing the character of the main character, but also in the depiction of the “water society”, their life, interests, and entertainment.
Pechorin notes with slight contempt the carefully hidden envy of each other, the love of gossip and intrigue. The life and customs of visitors to the Caucasian mineral waters, which both the author himself and the main character are ironic about, are determined by history and traditions. The image of the “water society” is also given in parallel with the image of the secular society, which Pechorin mentions and which has more than once been the object of study in the works of Griboedov and Pushkin.
In general, the entire “water society” is opposed to Pechorin. However, it is still possible to identify heroes who are not only opposed to Pechorin, but also compared with him.
Grushnitsky is a kind of parody of Pechorin. What for Pechorin constitutes the essence of character, for Grushnitsky it is a pose designed to produce an effect, an impression on others. Grushnitsky is an anti-romantic hero. His penchant for romanticization is carried to the point of caricature. He shows off and often behaves inappropriately to the situation. In everyday life he looks for romantic circumstances, but in truly romantic situations he gets lost. Grushnitsky's participation in the duel is ignoble and vile, but he cannot refuse it, since he is very proud. There are many external details in his image (overcoat, crutch, limp, ring with the date he met and the name Mary). Obviously, the image of Grushnitsky was not created without the influence of the image of Lensky: both are romantics, both were killed in a duel, both are younger than their friend-enemy.
Werner is the only male image that is compared with Pechorin, and not opposed. Their similarities are manifested in their relationships with society, skepticism, and wit. But along with common features, there are many differences in their characters. Pechorin is “madly chasing after life,” while Werner is passive. Werner is a less deep and complex nature than Pechorin. Before the duel, Pechorin admires nature, and Werner asks if he wrote his will. Werner's appearance shows romantic traits, but he is a contradictory nature.
All female images presented in the novel are also subordinated to the main task - revealing the image of Pechorin and showing his attitude towards love.
Of all the female characters, Princess Mary is depicted most fully. Like Grushnitsky, she is passionate about romanticism, she is young, smart, witty. The princess's purity and naivety makes Pechorin's selfishness even more obvious. The story of Mary's seduction is the reason for deep introspection and extensive internal monologues in Pechorin's diary. In a conversation with Mary, Pechorin talks about his fate (relationships with society, inclinations, quirks of character).
Faith is the most obscure image, incompletely outlined, and given only by hints. This is the only female image that is compared with Pechorin. It is in his relationship with Vera that the tragedy of Pechorin’s situation is most fully felt, his inability to deeply and truly love: he doesn’t even need Vera. This emphasizes the hero’s loneliness, his inability to truly feel, and reveals the hero’s internal conflict. Romantic irony illuminates the relationship between Pechorin and Vera: Pechorin drives his horse, trying to catch up with Vera, and then falls asleep to Napoleon at Waterloo.
In addition, Lermontov pays attention to a large number of other, less noticeable, but also very important for creating a more complete picture of society, heroes who, without exception, are subject to the principle of typification, which indicates the realism of the novel. At the same time, the author proceeds from traditional types, relying on the creative experience of his predecessors, Griboyedov and Pushkin.
As soon as Pechorin arrives in Pyatigorsk, he becomes acquainted with the customs of the families of the steppe landowners: “... the St. Petersburg cut of the frock coat misled them, but soon recognizing the army epaulettes, they turned away indignantly.”
Here we learn about the wives of local bosses, “mistresses of the waters”: “...they pay less attention to the uniform, they are accustomed in the Caucasus to meet an ardent heart under a numbered button and an educated mind under a white cap.”
A special class in the “water society” is made up of men, civilians and military (Captain Dragunsky, who with his participation in the duel resembles Zaretsky). The “water youth” stands out separately. In general, it is difficult to imagine anything new that has not yet been depicted in the works of Griboyedov and Pushkin. The same passion for rank, sycophancy, the same balls, gossip, idle pastime, emptiness, which dominate not as the vices of society, but as the elements of social life. Everything is the same, only with the difference that there we saw a secular society, and here a provincial one, which is trying with all its might to resemble the capital. Against the backdrop of all this, it is impossible not to note With with what irony not only specific images are drawn, but also the entire atmosphere.
Thus, the “water society” is not an accidental theme in the novel. The problem of personality, its relationships with others are the main task of all Lermontov’s work. At the same time, he is a continuer of the traditions of Russian literature 19th century,
“A Hero of Our Time” is a socio-psychological novel in which the author set himself the task of revealing the inner world of the hero, “exploring the human soul.”
Lermontov is a romantic, therefore the problem of personality is the central problem of romanticism and, naturally, the poet’s work. However, the innovation of “A Hero of Our Time” lies in the fact that the conflict between the individual and the surrounding world is resolved using a variety of means, both romantic and realistic.
Pechorin, the main character of the novel, is a social type. Traditionally, following Onegin, he is placed in the gallery of “extra people.”
The images of Pechorin and Onegin have a lot in common, from details, character traits, to the situations in which they find themselves. However, the conflict between the individual and society in “A Hero of Our Time” is more acute than in “Eugene Onegin,” since Pechorin “frantically chases after life,” but receives nothing from it, and Onegin simply “goes with the flow.”
The composition of the novel is subordinated to the main task that the author set for himself - solving the problem of personality. In Pechorin’s journal, the central story is “Princess Mary,” in which the character of the hero is revealed from the inside, that is, Lermontov uses such an artistic device as confession. All artistic means - portrait, landscape, dialogue, details - are psychological in nature. In the story, with the help of an expanded figurative system, the secret of the hero’s character is revealed.
Lermontov, like many romantics, contrasts personality and society, and he places his hero in different environments, pitting him against different people. We can see this in the stories “Bela”, “Taman” and “Princess Mary”.
In the psychological story “Princess Mary,” Pechorin’s personality is contrasted with the “water society,” and the hero’s attitude towards this society and society in general is shown. “Water Society” is a collective image of representatives of the local and metropolitan nobility, in whose behavior and life all the characteristic features of the described era can be traced. The conflict between the individual and society is embodied not only in revealing the character of the main character, but also in the depiction of the “water society”, their life, interests, and entertainment.
Pechorin notes with slight contempt the carefully hidden envy of each other, the love of gossip and intrigue. The life and customs of visitors to the Caucasian mineral waters, which both the author himself and the main character are ironic about, are determined by history and traditions. The image of the “water society” is also given in parallel with the image of the secular society, which Pechorin mentions and which has more than once been the object of study in the works of Griboedov and Pushkin.
In general, the entire “water society” is opposed to Pechorin. However, it is still possible to identify heroes who are not only opposed to Pechorin, but also compared with him.
Grushnitsky is a kind of parody of Pechorin. What for Pechorin constitutes the essence of character, for Grushnitsky it is a pose designed to produce an effect, an impression on others. Grushnitsky is an anti-romantic hero. His penchant for romanticization is carried to the point of caricature. He shows off and often behaves inappropriately to the situation. In everyday life he looks for romantic circumstances, but in truly romantic situations he gets lost. Grushnitsky's participation in the duel is ignoble and vile, but he cannot refuse it, since he is very proud. There are many external details in his image (overcoat, crutch, limp, ring with the date he met and the name Mary). Obviously, the image of Grushnitsky was not created without the influence of the image of Lensky: both are romantics, both were killed in a duel, both are younger than their friend-enemy.
Werner is the only male image that is compared with Pechorin, and not opposed. Their similarities are manifested in their relationships with society, skepticism, and wit. But along with common features, there are many differences in their characters. Pechorin is “madly chasing after life,” while Werner is passive. Werner is a less deep and complex nature than Pechorin. Before the duel, Pechorin admires nature, and Werner asks if he wrote his will. Werner's appearance shows romantic traits, but he is a contradictory nature.
All female images presented in the novel are also subordinated to the main task - revealing the image of Pechorin and showing his attitude towards love.
Of all the female characters, Princess Mary is depicted most fully. Like Grushnitsky, she is passionate about romanticism, she is young, smart, witty. The princess's purity and naivety makes Pechorin's selfishness even more obvious. The story of Mary's seduction is the reason for deep introspection and extensive internal monologues in Pechorin's diary. In a conversation with Mary, Pechorin talks about his fate (relationships with society, inclinations, quirks of character).
Faith is the most obscure image, incompletely outlined, and given only by hints. This is the only female image that is compared with Pechorin. It is in his relationship with Vera that the tragedy of Pechorin’s situation is most fully felt, his inability to deeply and truly love: he doesn’t even need Vera. This emphasizes the hero’s loneliness, his inability to truly feel, and reveals the hero’s internal conflict. Romantic irony illuminates the relationship between Pechorin and Vera: Pechorin drives his horse, trying to catch up with Vera, and then falls asleep to Napoleon at Waterloo.
In addition, Lermontov pays attention to a large number of other, less noticeable, but also very important for creating a more complete picture of society, heroes who, without exception, are subject to the principle of typification, which indicates the realism of the novel. At the same time, the author proceeds from traditional types, relying on the creative experience of his predecessors, Griboyedov and Pushkin.
As soon as Pechorin arrives in Pyatigorsk, he becomes acquainted with the customs of the families of the steppe landowners: “... the St. Petersburg cut of the frock coat misled them, but soon recognizing the army epaulettes, they turned away indignantly.”
Here we learn about the wives of local bosses, “mistresses of the waters”: “...they pay less attention to the uniform, they are accustomed in the Caucasus to meet an ardent heart under a numbered button and an educated mind under a white cap.”
A special class in the “water society” is made up of men, civilians and military (Captain Dragunsky, who with his participation in the duel resembles Zaretsky). The “water youth” stands out separately. In general, it is difficult to imagine anything new that has not yet been depicted in the works of Griboyedov and Pushkin. The same passion for rank, sycophancy, the same balls, gossip, idle pastime, emptiness, which dominate not as the vices of society, but as the elements of social life. Everything is the same, only with the difference that there we saw a secular society, and here a provincial one, which is trying with all its might to resemble the capital. Against the background of all this, it is impossible not to note with what irony not only specific images are drawn, but also the entire atmosphere.
Thus, the “water society” is not an accidental theme in the novel. The problem of personality, its relationships with others are the main task of all Lermontov’s work. At the same time, he is a continuator of the traditions of Russian literature of the 19th century,