Understanding Society's False Reverence in "A Hero of our Time" by Mikhail Lermonto.v

International Baccalaureate World Literature

IB World Lit

12.21.11

Understanding Society's False Reverence in A Hero of our Time

Throughout the novel A Hero of Our Time, by Mikhail Lermontov, Lermontov uses characters in order to criticize the general population's view and understanding of Grigory Pechorin. One of the characters I believe this is most traceable in is Maxim Maximych. In the past, while serving at a Fort near Kamenny Brod, Maxim and Pechorin had been great friends. In Bela, we see that Maxim held Pechorin in such high esteem that he saw him as a romantic, honorable, heroic figure. This viewpoint contrasts with his thoughts on Pechorin at the end of the chapter Maxim Maximych, at which point he realizes these views were unreal and founded in blind optimism. In the beginning of Maxim Maximych, Maxim gets excited at the thought of seeing his old dear friend when he learns he is in town, only to be utterly let down when he sees how unfriendly Pechorin is. At this point Maxim was in a state of expressing optimism at seeing Pechorin, being let down, then recycling his old optimism. As Maxim passes through more of these "optimism cycles" his physical movement decreases mirroring his progressively more pessimistic views on Pechorin. This cyclic inverse relationship between Maxim's decreasing physical movement and his increasingly pessimistic views reveal Lermentov's criticism of society's distorted reverence of Pechorin.

In the beginning of Maxim Maximich, Maxim's initial dynamic movements reveals his overly optimistic and romantic view of Pechorin. When Maxim encountered

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In the beginning of Maxim Maximich, Maxim's initial dynamic movements reveals his overly optimistic and romantic view of Pechorin. When Maxim encountered

the unnamed narrator after parting their separate ways earlier they "greeted each other like long lost friends" and Maxim "went so far as top slap [the unnamed narrator] on the back" (44). The action of slapping someone on the back is usually reserved for good friends, and the action is very affectionate. This early display of affectionate action, even to the narrator who he has just recently met, shows Maxim still holds Pechorin in high esteem. When Pechorin's carriage came into town, Maxim began "tugging [the unnamed narrator's] sleeve" (45). This rapid, jerking motion emanates excitement at the very idea of seeing his "bosom friend" (45) again. When he learns it is indeed Pechorin in the carriage he gave the servant "a friendly slap on the shoulder that sent him staggering" (45). This action is very dynamic and friendly and shows his optimistic views of Pechorin. It is only when he "touched [the servant] on the shoulder" (45) does his optimism falter slightly. This action is less charismatic as the servant is acting cooly towards him, as Pechorin will do soon. Other than this case of foresight, Maxim's view of Pechorin is unwavering. Through these movements, Lermontov is criticizing society's lack of ability to see Pechorin for who he really is.

As Maxim's optimism undergoes the first circuit, his dynamic actions begins to die down to calmer levels as he deals with rejection, but overall he still fails to see Pechorin's coldness. After telling the narrator to call him if Pechorin showed up, Maxim "ran off as though his limbs had regained all the vigor and suppleness of youth" (47). This electric movement reveals the very thought of seeing Pechorin again sent a bolt of excitement through Maxim. While waiting for Pechorin until late in the night Maxim "sat down on [a] bench" (46). This less active motion, and the fact that Maxim is waiting until

early in the morning, suggests that although he still didn't see the servant was disregarding him, he is becoming less and less excited about Pechorin as he is not coming out to see him. Another example revealing Maxim's lack of understanding and failing enthusiasm is when Maxim finally goes inside and he "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). The actions are consistent with someone who has something that is bothering them. In this section, Maxim continues to romanticize Pechorin, despite the obvert signs of disinterest from Pechorin.

Once again Maxim becomes excited when he finally meets Pechorin, he is enthusiastic about reigniting their past relationship. The second chance Maxim is giving Pechorin reveals societies tendency to reject the truth and idolize even in the face of cruelty. When Maxim came into the courtyard and saw Pechorin he began "running as fast as his legs could carry him" until he was "gasping for breath" and "sweat was pouring down his face" (49). Maxim's tiring exertion reveals that he is wiling to give everything he has to appease Pechorin, even though he had been rejected the night before. When Maxim was "about to throw his arms round Pechorin", Pechorin "rather coldly held out his hand" (49) instead. Again Maxim is acting affectionately towards Pechorin while Pechorin is just brushing Maxim aside. The contrast between the two characters actions show that Pechorin is not the friend Maxim had previously described him as. Although he is being turned down Maxim "eagerly grasped [Pechorin's hand] with both of his own" (50) showing that he is still clawing for attention from Pechorin. In this section,

Lermontov shows that even though Maxim is constantly rejected by Pechorin he still sees him as the romantic hero he thought he was before.

In the last cycle, Maxim once gain tries to reignite his friendship with Pechorin, acting very dynamically at first, only to become inert as he finally sees through Pechorin. Even though he has been rejected multiple times at this point he gives Pechorin another chance as he begins to head out. This shows that he still doesn't understand Pechorin and that he still reveres him. Right before Pechorin is about to leave for Serbia Maxim "suddenly grabbed hold of the carriage door" (51). Maxim's trying to stop the door from shutting forever is his last ditch attempt to win Pechorin's attention over. His fruitless attempt once again reveals his belief that Pechorin is a romantic and will understand and sympathize with an old dear "bosom friend" (45). His constant attempts and second chances show his stubbornness and inability to accept something that wasn't his first impression and Pechorin's face value. When, despite all Maxim's opposition, Pechorin still decides to leave, Maxim turns "away to hide his feelings" (52). This action is Maxim's last defense against the flood of obvert evidence suggesting Pechorin is not a heroic romantic. He is turning away from reality because his blind idolization was his reality, and the truth hurts. Long after Pechorin left Maxim "still stood there" (51) suggesting through the lack of any motion that he finally does not revere Pechorin anymore because he sees what his idolization did not let him see. When they got back to their room Maxim was "not getting ready to leave" (52) what he was supposed to be. Earlier he was pacing frantically while waiting for Pechorin to show up. This contrast between frantic dynamic motion and inactivity reveals that Maxim has abandoned

Pechorin because he sees that their was not mutual affection between the two. The last optimism circuit shows us that Maxim has come to terms with Pechorin and that he finally sees reality.

At first in Maxim Maximych, Maxim is very optimistic about meeting his dear friend and shows his optimism through lively dynamic actions. As the chapter progresses he goes through cycles of waxing and waning optimism which results in increased and decrease physical movement. When Pechorin literally shuts the door on his face, Maxim sees that all along Pechorin was not the romantic hero he always had idolized him to be.

Word Count: 1258