Physical Activity in "A Hero of Our Time", by Mikhail Lermentov

International Baccalaureate World Literature

IB World Literature

June 2, 2011

Physical Activity in A Hero of Our Time, by Mikhail Lermentov

Throughout A Hero of Our time, by Mikhail Lermontov, Lermontov uses various characters and themes to critique the public’s perception of Grigory Alexandrovich Pechorin. One such character is Maxim Maximych. Years ago, Maxim and Pechorin had been friends, and Maxim idolized him. In the chapter Bela, Maxim depicts Pechorin as a romantic, heroic figure, as much of the public sees him. However, by the end of the chapter Maxim Maximych, the reader can see that these impressions were overly optimistic and unfounded in reality. In Maxim Maximych, Maxim repeatedly gets excited over Pechorin, only to see his hopes of reigniting their friendship crushed, exemplifying Maxim’s and the public’s inability to understand Pechorin for who he really is. Maxim is caught in a cycle of expressing optimism towards meeting Pechorin, being let down, and then again feeling this optimism. Over the course of this change, Maxim’s decreasing physical activity illustrates his misunderstanding and increasingly pessimistic view of his relationship with Pechorin. As Maxim is a symbol of the public, his being caught in this cycle of misunderstanding reveals Lermentov’s critique of society’s false idolization of Pechorin.

When Maxim initially hears of Pechorin’s coming, his forceful physical movement symbolizes his falsely romantic view of his friendship with Pechorin. In response to the news, Maxim “went so far as to slap [the narrator] on the back” (44). The motion of slapping on the back, a common display of affection among friends, shows Maxim’s excitement at the thought of Pechorin. Maxim is giving this affectionate display to the narrator, whom he has just met, revealing Maxim’s and thus the public’s overly optimistic view of Pechorin. Maxim then begins “tugging [the narrtor’s] sleeve” (45). Maxim’s incessant movement results from his excitement at the opportunity of seeing Pechorin. However, despite Maxim’s excitement, Pechorin’s servant turns Maxim away. In response, Maxim “touched the churlish fellow on the shoulder” (45). Maxim’s hand motion here is less enthusiastic than the previous tugging, and therefore his initial optimism at meeting Pechorin has died down a bit, as the servant, essentially a manifestation of Pechorin’s personality, has turned him down. However, despite the evidence that his understanding of Pechorin is invalid, Maxim does not lose interest in Pechorin at this point. As Maxim is a symbol of society, Lermontov is criticizing the public’s inability to understand Pechorin’s real nature and lack of compassion towards Maxim.

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While Maxim anticipates Pechorin’s arrival, Maxim’s hyperactive movements followed by calmness suggest that he is again optimistic despite previous rejection, continuing to misunderstand Pechorin. Following telling the narrator to have Pechorin call on him upon arrival, Maxim “ran off as though his limbs had regained all the vigor and suppleness of youth” (47). The simile relating Maxim’s body to youthfulness displays Maxim’s fervor over meeting Pechorin. Maxim was unable to take the hint of the servant’s disregarding him, expressing Lermontov’s disapproving assessment of society’s perception of Pechorin. Maxim “sat down on the bench outside” (46) while waiting for Pechorin. Maxim’s lowered position, from running upright to sitting down, illustrates his lessening enthusiasm as Pechorin is not prioritizing him. At night, Pechorin still has not shown himself, and Maxim “threw his pipe on the table, paced up and down the room, tinkered with the stove… and tossed and turned for a long time” (47). Maxim’s restlessness signals his further disappointment that Pechorin is not returning his affection, and thus his complete lack of understanding that Pechorin feels no attachment to him. Maxim continues to see Pechorin as a hero despite being denied, symbolizing the public’s mistakenly seeing Pechorin in a positive light despite his indifference or malevolence towards everyone he meets.

As Maxim finally meets Pechorin, his flamboyant activity regressing into stagnation highlights Maxim’s newfound excitement at recreating their friendship. This baseless optimism represents the public’s unwarranted categorization of Pechorin as a hero. Upon seeing Pechorin, Maxim began “running as fast as his legs could carry him… gasping for breath, the sweat pouring from his face” (49). Lermontov uses the imagery of Maxim expending all possible energy to come to Pechorin to depict Maxim as desperately thirsty for Pechorin’s attention, in spite of Pechorin’s making him wait all night long to meet. Maxim looked as if he was “about to throw his arms round Pechorin, but Pechorin rather coldly held out his hand” (49). The contrast between the two characters’ physical responses to one another emphasizes Maxim’s euphoria with meeting at last even though Pechorin is clearly not the friend Maxim had described and imagined. In response to being offered only his hand, Maxim “eagerly grasped [it] with both of his own” (50). Even in the face of having his hug turned down, Maxim will not back down from his exuberance, implying that he, and by extension society, misunderstands Pechorin’s character. Maxim and Pechorin consequently exchange words, during which Maxim is disappointed by Pechorin’s detachment, and after Maxim responds crossly, Pechorin “gave him a friendly hug” (51). The syntax of this sentence, in which Maxim is made the object, creates the image that Maxim is no longer actively grabbing at Pechorin; he is now passively receiving consolation from him. This passivity emphasizes that Maxim is again being put down by Pechorin. However, Maxim gives no sign that he is getting any closer to understanding Pechorin. Lermontov uses Maxim’s constant rejection by Pechorin as a tool to describe the public’s constant, foundationless adoration of Pechorin despite Pechorin’s constant rejection of all people.

In Maxim’s last attempt to inspire affection in Pechorin, he again becomes physically excited only to become lifeless, exemplifying his newfound optimism. Even after suffering rejection three times, Maxim continues to express hope toward Pechorin, showing that he and the public cannot truly understand Pechorin as they are blinded by his idol-like figure. Before Pechorin heads out in his carriage, “suddenly maxim Maximych grabbed hold of the carriage door” (51). Maxim’s stopping of the door symbolizes his attempt to stop the destruction of their friendship. This futile attempt clarifies his false impression that the friendship can be salvaged and something can be done to change Pechorin. His inability to see Pechorin as something less than the heroic impression he initially received reveals the public’s unwillingness to accept a different perception of Pechorin. When he is denied for the final time, Maxim “turned away to hide his feelings” (52). Maxim’s turning away symbolizes his turning away from reality, as even in Pechorin blatantly driving away from him carelessly, Maxim still will not admit that Pechorin is not who he thought he was. Back in his room, the narrator sees that Maxim “was not getting ready to leave” (52) when he expected him to. This sitting contrasts with his previous pacing in the room, when he still felt optimistic about the relationship. Now, Maxim has been abandoned for the last time, illustrating his complete misunderstand of Pechorin, as all of his attempts at affection failed to produce a reaction. Maxim’s last cycle of optimism allows the reader to understand that the public’s perception of Pechorin will never change.

In the chapter Maxim Maximych, Maxim is initially very optimistic about meeting his old friend Pechorin. Even after Pechorin rejects his affection multiple times, Maxim regains confidence in their friendship, creating a cycle that Maxim cannot escape because he does not understand Pechorin’s cold nature. Maxim’s physical activity exemplifies his repetitive regression into rejection and regained confidence. Lermontov uses Maxim as a tool to attack society’s characterization of Pechorin as a hero, as mentally he makes no progress in understanding Pechorin.

Word Count: 1246

Lermontov, Mikhail. A Hero of Our Time. Trans. By Paul Foote. New York: Penguin Putnam Inc., 1966.