Mikhail Lermontov's A Hero Of Our Time

A story, of any type, is greatly affected by the characters’ outlook on life. A bright, hopeful main character will give the narrative a more lighthearted feel, and cause the reader to feel encouraged and satisfied. If the character has a negative perspective, however, it can elicit sadness, pity, or even irritation from the reader. In Voltaire’s Candide and Tolstoy’s Death of Ivan Ilyich, two characters with very different worldviews are displayed. The lighthearted Candide maintained an attitude of cheerfulness and perseverance even through the hardships of his life, which stems from his deep love and care for others, while the coldhearted despair of Ivan Ilyich is only intensified into anger by the feigned optimism of those around him.

On a day to day bases, men and women in prison or jail are dehumanized and terrorized by their superiors or even their inmates in the Criminal Justice System. The inmates that are in this situation are usually physically, emotionally, and mentally abused, they are often deprived of meals and are belittled. The inmates in this situation have no other choice but adapt to their best ability of the harsh situation they are founded in or be broken and taken over by the system they are forced to be a part of. Is it true that a person in difficult situations needs to be indifferent of their past because being nostalgic can only hurt them? Or does the harsh situation they become a custom to make it easier to forget their past life?. Solzhenitsyn uses Shukhov’s indifferent attitude towards his past to illustrate that a person cannot be nostalgic because it can lead to one’s self-destruction.

“They walked and talked of the strange light on the sea… talked of how sultry it was after a hot day” and discussed employment and birthplaces (897). After departing from Yalta, Chekhov details Gurov’s dreary life of “children [having] breakfast and getting ready for school… entertaining distinguished lawyers... walking his daughter to school” (901, 905).

We formed a special bond with Nabokov despite the difficulty of his prose. This went deeper than out identification with his themes. His novels are shaped around invisible trapdoors, sudden gaps that constantly pull the carpet from under the reader’s feet. They are filled with mistrust of what we call everyday reality, an acute sense of that reality’s fickleness and frailty (293).

The stories of Anton Chekhov mark a focal moment in European fiction. This is the point where 19th realist caucus of the short stories started their transformation into modern form. As such, his work straddles two traditions. The first is that of the anti-romantic realism which has a sharp observation of external social detail. It has human behavior conveyed within tight plot. The second is the modern psychological realism in which the action in typically internal and expressed in associative narrative that is built on epiphanic moments. In consideration of the two sides, Chekhov developed powerful personal styles that presage modernism without losing traditional frills of the form. This essay will discuss the Chekhov's portrayal of women.

Soviet Ukraine was a terrible place to be in the late 1900s for Jewish people. There was strong anti-semitism during this time in the waning days of the Cold War. The Cold War was a state of political hostility between countries that was characterized mainly by threats and propaganda. Lev Golinkin wrote on his experiences about being a Jew living in Ukraine in his memoir, A Backpack, a Bear, and Eight Crates of Vodka. Golinkin possesses an interesting writing style that includes a terribly harsh tone of fear, yet he also incorporates humor that forces the reader to connect with him. Golinkin utilized tone superbly to allow the reader to better understand the topics of his memoir.

Hadji Murat, Tolstoy's second book with the Caucasus as its setting can be considered a work of historical fiction that is a beautiful tale of resistance, and a window into not only the Caucasian War of the mid-nineteenth century, but also the culture of the Russian Empire during this period. As a work of fiction the reader must be wary of depictions of actual persons such as Tsar Nicholas I, whom Tolstoy was not enamored with, to say the least, but many insights about the period and its people can be gleaned from the story. The novel is one of great contrasts between Chechens and Russians and also of what life was like during this time.

The question of whether predestination and fate exist does not have a defined answer, as many people have differing opinions on the question. This was true in historical Russian literature as well. Two great narrative poems, The Novice and The Demon, provide opposing hypotheses—the novice fails because of external circumstance, and the demon, through his innate character. Together, they represent the two poles of Pechorin’s speculation. Thus, A Hero of Our Time presents both sides of the argument, as Pechorin oscillates between the two views. For example, Pechorin is superstitious of the ancient sages he derides, believing in the old woman’s predication that his death will be caused by a wicked wife. However, the night before the duel, he questions

Heroes come in many shapes and sizes, throughout time many of them have risen and fallen. A hero is characterized as someone that is a leader to his people, they reflect societal views, and yet they have a major flaw that often causes their downfall. During the 20th century a revolutionary man rose from his years of exile to lead the Bolshevik party into power, his name, Vladimir Lenin. Lenin stands as a prime example of a leader that reflects Russia’s social values, and as a flaw for his outspoken nature suffers from a near-death assassination.

Fyodor Dostoyevsky’s Notes from the Underground (1864/2008) comes across as a diary penned by a self-described “spiteful” and “unattractive” anonymous narrator (p. 7). The narrator’s own self-loathing characterized by self-alienation is so obvious, that he is often referred to by critics as the Underground Man (Frank 1961, p. 1). Yet this Underground Man is the central character of Dostoyevsky’s novel and represents a subversion of the typical courageous hero. In this regard, the Underground man is an anti-hero, since as a protagonist he not only challenges the typical literary version of a hero, but also challenges conventional thinking (Brombert 1999, p. 1).

Imperial Russian society during the time of serfdom was characterized by constantly changing social order. The society experienced a complex social change at the threshold to emancipation. It was undergoing many changes with increasing westernization and serfdom culture that gave rise to formation of new classes (raznochintsy) during the nineteenth century. Many authors have reflected and emphasized this component of change in the structure of pre-emancipation Russian society. This paper will examine how two writers: Nikolai Gogol and Ivan Turgenev, in their novels, Dead Souls and Fathers and Sons depict the society’s constantly changing nature through the relationships between their characters and the development in their beliefs and ideas. Although both the novels explore societal change during the pre-emancipation of serfs, the emphasis of change is different in both the novels. In Fathers and Sons, Turgenev oversees shifting values prevalent in the society. He explores the shift in generational values by depicting the difference in beliefs of characters like Bazarov and Nikolai. On the other hand, in Dead Souls Gogol focuses on issues of morality in society. He depicts a struggle for morality and portrays a corrupt society through the landowners and the protagonist, Chichikov, in his book.

Popular descriptions of Alexei Karenin label him as a cold and passionless government official who doesn’t care about his wife or family. Indeed, he is viewed as the awful husband who is holding Anna hostage in a loveless marriage. However, this is a highly exaggerated description, if not completely false, analysis of Karenin. Upon careful analysis of Karenin’s character and his actions, it is clear that he is not the person Anna makes him out to be. In fact, with thorough examination of the passage on pages 384 and 385 of Anna Karenina, it is clear that Alexei Karenin can be considered the hidden tragic hero of the novel.

Leo Tolstoy’s The Death of Ivan Ilyich tells the story of a modern lawman whose sudden mortality forces him to evaluate the worth of his life and the life choices he has. Throughout the novella, Tolstoy reveals social norms and practices blindly followed by those in the upper-middle class. These norms bring to light modernity’s core values, which Tolstoy critiques through the actions Ivan Ilyich takes before his death, Ivan Ilyich’s revelation as he lies on his death bed, and the way Ivan Ilyich’s family, friends, and colleagues react to his illness and eventual death. In fact, The Death of Ivan Ilyich provides a critique on modernity as a whole; Tolstoy condemns the shallow, superficial lives the higher-ups in society lead, spurred on by the idea of modernity.

In 19th century Russian literature there was often a gender inequality depicted between the male and female characters. Women were expected to get married, start a family, and obey their husbands. Women often made sacrifices and married men they weren’t fond of in order to support their families. Anton Chekhov’s writing questions these gender relationships. The female characters have a strong presence within Chekhov’s works, and they transcend typical gender roles.

Lermontov’s usage of chance and coincidence as the mode of expression of fate can be seen explicitly in “Princess Mary” and “The Fatalist,” both short stories from Pechorin’s journal. “Princess Mary” retells the story of the time that Pechorin spent in the town of Pyatigorsk, a spa town located in the Caucases. In Pyatigorsk, Pechorin encounters an old acquaintance of his, Grushnitsky, who Pechorin secretly dislikes despite his veil of friendship. Also present in the town are Princess Ligovskaya and her daughter, the titular Princess Mary. Princess Ligovskaya and Princess Mary are very wealthy and normally live in Moscow, where they live as eminent socialites. Grushnitsky is instantly captivated by the young Princess Mary and gradually