230:
whom Azamat abducts for
Pechorin in exchange for Kazbich's horse. Maxim describes Pechorin's exemplary persistence to convince Bela to give herself sexually to him, in which she with time reciprocates. After living with Bela for some time, Pechorin starts explicating his need for freedom, which Bela starts noticing, fearing he might leave her. Though Bela is completely devoted to Pechorin, she says she's not his slave, rather a daughter of a Circassian tribal chieftain, also showing the intention of leaving if he "doesn't love her". Maxim's sympathy for Bela makes him question Pechorin's intentions. Pechorin admits he loves her and is ready to die for her, but "he has a restless fancy and insatiable heart, and that his life is emptier day by day". He thinks his only remedy is to travel, to keep his spirit alive.
234:
256:
arbitrary. Yet this is strange as
Pechorin's intelligence is very high (typical of a Byronic hero). Pechorin's explanation as to why his actions are arbitrary can be found in the last chapter where he speculates about fate. He sees his arbitrary behaviour not as being a subconscious reflex to past moments in his life but rather as fate. Pechorin grows dissatisfied with his life as each of his arbitrary actions lead him through more emotional suffering which he represses from the view of others.
357:
34:
716:
1063:
226:
existence may be attained and that
Pechorin can finally realize that true feelings are possible. Yet a lifetime of superficiality and cynicism cannot be so easily eradicated and when fate intervenes and Pechorin's horse collapses, he undertakes no further effort to reach his one hope of redemption: "I saw how futile and senseless it was to pursue lost happiness. What more did I want? To see her again? For what?”
443:"That is just like human beings! They are all alike; though fully aware in advance of all the evil aspects of a deed, they aid and abet and even give their approbation to it when they see there is no other way out—and then they wash their hands of it and turn away with disapproval from him who dared assume the full burden of responsibility. They are all alike, even the kindest and wisest of them!"
399:"When I think of imminent and possible death, I think only of myself; some do not even do that. Friends, who will forget me tomorrow, or, worse still, who will weave God knows what fantastic yarns about me; and women, who in the embrace of another man will laugh at me in order that he might not be jealous of the departed—what do I care for them?"
440:"Whether I am a fool or a villain I know not; but this is certain, I am also most deserving of pity – perhaps more so than she. My soul has been spoiled by the world, my imagination is unquiet, my heart insatiate. To me everything is of little moment. I have become as easily accustomed to grief as to joy, and my life grows emptier day by day."
479:. The play, directed by Kateryna Sokolova, premiered at the Schauspielhaus Zürich on 28 May. The production received universal acclaim, especially praising it for not having lost "neither the linguistic finesse nor the social paralysis of Lermontov’s Zeitgeist", both of which constitute the novel's Byronic character.
303:
headquarters and became smitten with him, making her state that his picture made her think of
Lermontov's Pechorin. The fact that Pechorin was anything but a 'hero' or even a positive character at all in Lermontov's narration stands to indicate Fleming's wry self-deprecating wit about his most famous
251:
Pechorin described his own personality as self-destructive, admitting he himself doesn't understand his purpose in the world of men. His boredom with life, feeling of emptiness, forces him to indulge in all possible pleasures and experiences, which soon, cause the downfall of those closest to him. He
229:
Pechorin's chronologically last adventure was first described in the book, showing the events that explain his upcoming fall into depression and retreat from society, resulting in his self-predicted death. The narrator is Maxim
Maximytch telling the story of a beautiful Circassian princess, "Bela",
221:
Pechorin treats women as an incentive for endless conquests and does not consider them worthy of any particular respect. He considers women such as
Princess Mary to be little more than pawns in his games of romantic conquest, which in effect hold no meaning in his listless pursuit of pleasure. This
298:
the plot revolves upon Soviet agent
Tatiana Romanova feigning an infatuation with MI6's James Bond and offering to defect to the West provided he'll be sent to pick her up in Istanbul, Turkey. The Soviets elaborate a complex backstory about how she spotted the file about the English spy during her
247:
However, Pechorin's behavior soon changes after Bela gets kidnapped by his enemy
Kazbich, and becomes mortally wounded. After two days of suffering in delirium Bela spoke of her inner fears and her feelings for Pechorin, who listened without once leaving her side. After her death, Pechorin becomes
225:
The only contradiction in
Pechorin's attitude to women are his genuine feelings for Vera, who loves him despite, and perhaps due to, all his faults. At the end of "Princess Mary" one is presented with a moment of hope as Pechorin gallops after Vera. The reader almost assumes that a meaning to his
471:
In 2011 Alex
Mcsweeney adapted the novel into an English-language playscript. Previewed at the International Youth Arts Festival in Kingston upon Thames, Surrey, UK in July, it subsequently premiered in August of the same year at Zoo Venues in the Edinburgh Fringe Festival. Critics received it
255:
His crushed spirit after this and after the duel with Grushnitsky can be interpreted that he is not the detached character that he makes himself out to be. Rather, it shows that he suffers from his actions. Yet many of his actions are described both by himself and appear to the reader to be
1066:
402:"Women! Women! Who will understand them? Their smiles contradict their glances, their words promise and lure, while the sound of their voices drives us away. One minute they comprehend and divine our most secret thoughts, and the next, they do not understand the clearest hints."
387:"...I am not capable of close friendship: of two close friends, one is always the slave of the other, although frequently neither of them will admit it. I cannot be a slave, and to command in such circumstances is a tiresome business, because one must deceive at the same time."
343:) seeks to seduce his business partner's girlfriend, a gifted violinist named Camille, into falling for his carefully contrived charms. He does this purely for the satisfaction of gaining control of her emotionally, while never loving her sincerely. He is a modern-day Pechorin.
248:
physically ill, loses weight and becomes unsociable. After meeting with Maxim again, he acts coldly and antisocial, explicating deep depression and disinterest in interaction. He soon dies on his way back from Persia, admitting before that he is sure to never return.
201:
who broods on the futility of existence and the certainty of death. Pechorin's whole philosophy concerning existence is oriented towards the nihilistic, creating in him somewhat of a distanced, alienated personality. The name Pechorin is drawn from that of the
427:(replying to Grushnitski): "Mon cher, je méprise les femmes pour ne pas les aimer car autrement la vie serait un mélodrame trop ridicule" ("My friend, I despise women to avoid loving them because otherwise, life would become too ridiculous a
490:- who is also the author of the libretto. The score was commissioned purposefully for this production and composed by Ilya Demutsky. This production focuses on three novellas from Lermontov's novel - Bela, Taman, and Princess Mary.
417:(to Pechorin): "Mon cher, je haïs les hommes pour ne pas les mépriser car autrement la vie serait une farce trop dégoûtante." ("My friend, I hate people to avoid despising them because otherwise, life would become too disgusting a
396:"What of it? If I die, I die. It will be no great loss to the world, and I am thoroughly bored with life. I am like a man yawning at a ball; the only reason he does not go home to bed is that his carriage has not arrived yet."
189:. Byron's works were of international repute and Lermontov mentions his name several times throughout the novel. According to the Byronic tradition, Pechorin is a character of contradiction. He is both sensitive and
405:"There are two men within me – one lives in the full sense of the word, the other reflects and judges him. In an hour's time the first may be leaving you and the world for ever, and the second? ... the second? ..."
339:) was said to be based on "his memories of" the Princess Mary section. The relationship with Lermontov's work is quite loose – the film takes place in contemporary Paris, where a young violin repairer (played by
411:"I'll hazard my life, even my honor, twenty times, but I will not sell my freedom. Why do I value it so much? What am I preparing myself for? What do I expect from the future? in fact, nothing at all."
505:
London: Ingram, Cook and Co., 1853. 315 pp. "The illustrated family novelist" series, #2. (a liberal translation with changed names of the heroes; "Taman" not translated).
629:. Transl. by Martin Parker. Moscow: Foreign languages publ. house, 1947. 224 pp., ill. (republished in 1951 and 1956; also published by Collet's Holdings, London, 1957).
222:
is shown in his comment on Princess Mary: "I often wonder why I'm trying so hard to win the love of a girl I have no desire to seduce and whom I'd never marry."
1363:
617:. Transl. by Eden and Cedar Paul for the Lermontov centenary. London: Allen and Unwin, 1940. 283 pp. (also published by Oxford Univ. Press, London—N.Y., 1958).
559:
Transl. by J. H. Wisdom and Marr Murray. London: Herbert and Daniel, 1912. VII, 335 pp. (also published in 1916 by Hodder and Stoughton, London—N.Y.—Toronto).
285:, gentlemen, is in fact a portrait, but not of an individual; it is the aggregate of the vices of our whole generation in their fullest expression."
1121:
408:"To cause another person suffering or joy, having no right to so—isn't that the sweetest food of our pride? What is happiness but gratified pride?"
781:
810:
965:
1155:
649:. Translated by Philip Longworth. With an afterword by William E. Harkins, London, 1964, & New York : New American Library, 1964
1368:
1008:
755:
252:
starts to realize this with Vera and Grushnitsky, while the tragedy with Bela soon leads to his complete emotional collapse.
1358:
1272:
20:
1030:
765:
667:. Transl., with an introduction and commentary by Anatoly Liberman. Minneapolis: University of Minnesota Press, 1983.
486:. The ballet was choreographed by San Francisco Ballet's Choreographer in Residence, Yuri Possokhov, and directed by
541:
Russian reader: Lermontof's modern hero, with English translation and biographical sketch by Ivan Nestor-Schnurmann.
393:"It is difficult to convince women of something; one must lead them to believe that they have convinced themselves."
1353:
907:
1148:
1373:
1287:
294:
277:: "Some were dreadfully insulted, and quite seriously, to have held up as a model such an immoral character as
1089:
691:. Transl. with an introduction and notes by Natasha Randall; foreword by Neil LaBute. New York: Penguin, 2009.
503:
Sketches of Russian life in the Caucasus. By a Russe, many years resident amongst the various mountain tribes.
323:(1966), the same child actor is seen waking in what appears to be a mortuary and reaching for the same book.
269:
840:
1348:
875:
1207:
553:. T. 2, part 2. London—N.Y., 1903, pp. 157–164. (a reduced version of the "Maxim Maximich" chapter).
384:"My whole life has been merely a succession of miserable and unsuccessful denials of feelings or reason."
193:. He is possessed of extreme arrogance, yet has a deep insight into his own character and epitomizes the
521:
London: Bogue, 1854. 231 pp., ill. (the first full translation of the novel by an anonymous translator).
1141:
579:. Transl. by Z. A. Ragozin. Vol. 1. N. Y.: Putnam, 1920, pp. 165–198. (an excerpt from the novel).
1311:
527:
Transl. by R. I. Lipmann. London: Ward and Downey, 1886. XXVIII, 272 pp. ("Fatalist" not translated).
194:
475:
In 2014, German stage director Kateryna Sokolova adapted the novel focusing on its longest novella,
1319:
789:
390:"Afraid of being judged, I buried my finer feelings in the depths of my heart and they died there."
535:
Tales from the Russian. Dubrovsky by Pushkin. New year's eve by Gregorowitch. Taman by Lermontoff.
818:
317:, the young son is seen reading the book in bed. In the opening sequence of Bergman's next film,
313:
190:
123:
960:
697:. Transl. by Alexander Vassiliev, London: Alexander Vassiliev 2010. (a dual language edition).
623:. Transl. by Z. Shoenberg and J. Domb. London: Harrap, 1945. 124 pp. (a dual language edition).
543:
Cambridge: Univ. press, 1899. XX, 403 pp. (a dual language edition; "Fatalist" not translated)
515:
London: T. Hodgson, 1854. 232 pp. "The Parlour Library". Vol.112. ("Fatalist" not translated).
304:
creation; the irony is lost, however, on western readers not familiar with Lermontov's work.
233:
661:. Transl. with an introduction by Paul Foote. Harmondsworth, Middlesex: Penguin Books, 1966.
487:
8:
1280:
1180:
655:. Ed., transl., and with an introd. by Guy Daniels. New York: Grosset & Dunlap, 1965.
319:
1100:
460:
281:; others shrewdly noticed that the author had portrayed himself and his acquaintances.
367:
1295:
1265:
1223:
1165:
1052:
1004:
915:
883:
848:
761:
331:
207:
147:
44:
679:. Transl. by Martin Parker, revised and edited by Neil Cornwell, London: Dent, 1995
636:
456:
170:
138:
112:
66:
1258:
1034:
969:
512:
482:
On July 22, 2015, The Bolshoi Theatre in Moscow premiered a ballet adaptation of
154:
1326:
640:
340:
308:
241:
174:
1342:
1250:
1242:
1215:
1133:
939:
919:
887:
852:
721:
326:
211:
203:
198:
1027:
1303:
962:
Bibliography of translations of "A Hero of Our Time" into foreign languages
643:. Garden City, N.Y.: Doubleday, 1958. XI, 216 pp. "Doubleday Anchor Books".
264:
186:
158:
537:
London: The Railway and general automatic library, 1891, pp. 229–251.
371:
1028:
Full text (English translation) of "A Hero of Our Time" at Eldritch Press
734:
729:
356:
289:
215:
33:
465:
703:. Transl. by Nicholas Pasternak Slater, Oxford World's Classics, 2013.
428:
1072:
1047:
841:"Lermontow-Roman in der Schauspielhaus-Kammer: Nihilismus und Ehre"
166:
162:
715:
601:. Transl. by Reginald Merton. Mirsky. London: Allan, 1928. 247 pp.
1112:
437:"I was prepared to love the whole world . . . I learned to hate."
673:. Transl. by Helena Goscilo. Ann Arbor: Ardis Publishers, 1984.
300:
1077:
585:. Transl. by John Swinnerton Phillimore. London: Nelson, 1924.
418:
143:
169:. There are several English translations, including one by
1113:
Website for the Premiere of the English Language Adaptation
985:
Translations from Longworth on as cited in COPAC catalogue.
150:, written in 1839, published in 1840, and revised in 1841.
569:. Ed. by C. E. B. Roberts. N. Y.: 1917, pp. 124–137.
595:. Transl. by A. E. Chamot. London, 1925—1928, pp. 84—97.
519:
A hero of our own times. Now first transl. into English.
493:
1001:
Lermontov's "A Hero of Our Time": A Critical Companion
165:) Pechorin and for the beautiful descriptions of the
128:
711:
472:
positively, generally giving 4- and 5-star reviews.
468:
starred as Grigory. It aired on September 28, 1966.
273:
begins with an excerpt from Lermontov's foreword to
685:. Transl. by Marian Schwartz. Modern Library, 2004.
434:"Passions are merely ideas in their initial stage."
180:
1340:
563:The duel. Excerpt from The hero of our own time.
811:"Ein Held unserer Zeit | Schauspielhaus Zürich"
760:. New York: Taylor & Francis. p. 498.
450:
1163:
1364:Novels set in the 19th-century Russian Empire
1149:
116:
77:
54:
757:Encyclopedia of the Romantic Era, 1760–1850
464:adapted the novel for television, in which
1156:
1142:
1003:. Chicago: Northwestern University Press.
446:"Women love only the men they don't know."
32:
232:
838:
1341:
753:
259:
1137:
998:
607:Transl. by G.A. Miloradowitch. — In:
137:
1273:The Song of the Merchant Kalashnikov
870:
868:
494:Bibliography of English translations
350:
238:The duel of Pechorin and Grushnitsky
611:. Vol. 8. N. Y., 1928, pp. 491—493.
206:, in the far north, as a homage to
139:[ɡʲɪˈrojˈnaʂɨvəˈvrʲemʲɪnʲɪ]
21:A Hero of Our Time (disambiguation)
13:
992:
185:Pechorin is the embodiment of the
14:
1385:
1369:Russian novels adapted into plays
1021:
865:
1061:
714:
355:
157:novel, noted for its compelling
1090:Website dedicated to the novel
839:Steiger, Claudio (2014-05-30).
551:Anthology of Russian literature
16:1840 novel by Mikhail Lermontov
979:
953:
932:
912:Tages-Anzeiger, Tages-Anzeiger
900:
880:Basler Zeitung, Basler Zeitung
832:
803:
774:
747:
593:Selected Russian short stories
567:A Russian anthology in English
181:Grigory Alexandrovich Pechorin
79:Типография Ильи Глазунова и Ко
1:
740:
565:Transl. by T. Pulszky. — In:
346:
908:"Kurz & kritisch im Mai"
876:"Kurz & kritisch im Mai"
754:Murray, Christopher (2004).
633:A hero of our time. A novel.
451:Screen and stage adaptations
7:
1359:Novels by Mikhail Lermontov
1288:The Tambov Treasurer's Wife
1208:Menschen und Leidenschaften
1071:public domain audiobook at
707:
577:Little Russian masterpieces
374:using the Transwiki process
129:
10:
1390:
999:Bagby, Lewis, ed. (2002).
976:Moscow, 1962, pp. 209–210.
18:
1312:Farewell, Unwashed Russia
1234:
1199:
1172:
972:(Russian); published in:
914:(in German). 2014-05-30.
882:(in German). 2014-05-30.
117:
96:
86:
78:
76:Iliya Glazunov & Co (
72:
62:
50:
40:
31:
1320:The Princess of the Tide
968:August 27, 2011, at the
847:(in Swiss High German).
153:It is an example of the
1354:Russian-language novels
1082:in the original Russian
959:Based on B. L. Kandel,
615:A hero of our own times
557:The heart of a Russian.
244:
55:
1374:Self-reflexive novels
815:www.schauspielhaus.ch
509:The hero of our days.
295:From Russia with Love
236:
845:Neue Zürcher Zeitung
782:"A Hero of Our Time"
665:Major poetical works
609:Golden Book Magazine
488:Kirill Serebrennikov
130:Gerój nášego vrémeni
118:Герой нашего времени
56:Герой нашего времени
19:For other uses, see
1349:1840 Russian novels
1181:Princess Ligovskaya
974:A Hero of Our Time.
573:A traveling episode
525:A hero of our time.
366:is a candidate for
260:Cultural references
51:Original title
28:
27:A Hero of Our Time
1189:A Hero of Our Time
1124:A Hero of Our Time
1103:A Hero of Our Time
1092:A Hero of Our Time
1080:A Hero of Our Time
1068:A Hero of Our Time
1048:A Hero of Our Time
1033:2004-10-11 at the
701:A hero of our time
695:A hero of our time
689:A hero of our time
683:A hero of our time
677:A hero of our time
659:A hero of our time
653:A Lermontov reader
647:A hero of our time
627:A hero of our time
599:A hero of our time
591:. — In: Chamot A.
583:A hero of nowadays
461:The Wednesday Play
283:A Hero of Our Time
279:A Hero of Our Time
275:A Hero of Our Time
245:
214:, named after the
108:A Hero of Our Time
26:
1336:
1335:
1266:Death of the Poet
1166:Mikhail Lermontov
1101:Study guides for
1053:Project Gutenberg
1010:978-0-8101-1680-1
786:Kateryna Sokolova
381:
380:
332:A Heart in Winter
299:clerical work at
208:Alexander Pushkin
148:Mikhail Lermontov
127:
104:
103:
97:Publication place
45:Mikhail Lermontov
1381:
1158:
1151:
1144:
1135:
1134:
1130:
1126:stage production
1118:
1109:
1097:
1086:
1065:
1064:
1058:
1055:
1040:
1017:
1014:
986:
983:
977:
957:
951:
950:
948:
947:
936:
930:
929:
927:
926:
904:
898:
897:
895:
894:
872:
863:
862:
860:
859:
836:
830:
829:
827:
826:
817:. Archived from
807:
801:
800:
798:
797:
788:. Archived from
778:
772:
771:
751:
724:
719:
718:
639:in collab. with
637:Vladimir Nabokov
605:Fatalist. Story.
549:— In: Wiener L.
484:Hero of Our Time
457:anthology series
359:
351:
337:Un cœur en hiver
171:Vladimir Nabokov
141:
136:
132:
122:
120:
119:
88:Publication date
81:
80:
58:
36:
29:
25:
1389:
1388:
1384:
1383:
1382:
1380:
1379:
1378:
1339:
1338:
1337:
1332:
1230:
1195:
1168:
1162:
1128:
1116:
1107:
1095:
1084:
1062:
1056:
1045:
1038:
1035:Wayback Machine
1024:
1015:
1011:
995:
993:Further reading
990:
989:
984:
980:
970:Wayback Machine
958:
954:
945:
943:
938:
937:
933:
924:
922:
906:
905:
901:
892:
890:
874:
873:
866:
857:
855:
837:
833:
824:
822:
809:
808:
804:
795:
793:
780:
779:
775:
768:
752:
748:
743:
720:
713:
710:
547:Maxim Maximich.
513:Theresa Pulszky
496:
453:
377:
360:
349:
262:
183:
155:superfluous man
134:
89:
24:
17:
12:
11:
5:
1387:
1377:
1376:
1371:
1366:
1361:
1356:
1351:
1334:
1333:
1331:
1330:
1323:
1316:
1308:
1300:
1292:
1284:
1277:
1269:
1262:
1255:
1247:
1238:
1236:
1232:
1231:
1229:
1228:
1220:
1212:
1203:
1201:
1197:
1196:
1194:
1193:
1185:
1176:
1174:
1170:
1169:
1161:
1160:
1153:
1146:
1138:
1132:
1131:
1119:
1110:
1105:at Bibliomania
1098:
1087:
1075:
1059:
1042:
1041:
1023:
1022:External links
1020:
1019:
1018:
1009:
994:
991:
988:
987:
978:
952:
931:
899:
864:
831:
802:
773:
766:
745:
744:
742:
739:
738:
737:
732:
726:
725:
709:
706:
705:
704:
698:
692:
686:
680:
674:
668:
662:
656:
650:
644:
641:Dmitri Nabokov
630:
624:
618:
612:
602:
596:
586:
580:
570:
560:
554:
544:
538:
528:
522:
516:
506:
498:Translations:
495:
492:
452:
449:
448:
447:
444:
441:
438:
435:
432:
422:
412:
409:
406:
403:
400:
397:
394:
391:
388:
385:
379:
378:
363:
361:
354:
348:
345:
341:Daniel Auteuil
309:Ingmar Bergman
261:
258:
242:Mikhail Vrubel
182:
179:
175:Dmitri Nabokov
102:
101:
98:
94:
93:
90:
87:
84:
83:
74:
70:
69:
64:
60:
59:
52:
48:
47:
42:
38:
37:
15:
9:
6:
4:
3:
2:
1386:
1375:
1372:
1370:
1367:
1365:
1362:
1360:
1357:
1355:
1352:
1350:
1347:
1346:
1344:
1328:
1324:
1321:
1317:
1314:
1313:
1309:
1306:
1305:
1301:
1298:
1297:
1293:
1290:
1289:
1285:
1282:
1278:
1275:
1274:
1270:
1267:
1263:
1260:
1256:
1253:
1252:
1248:
1245:
1244:
1243:Boyarin Orsha
1240:
1239:
1237:
1233:
1226:
1225:
1221:
1218:
1217:
1216:A Strange Man
1213:
1210:
1209:
1205:
1204:
1202:
1198:
1191:
1190:
1186:
1183:
1182:
1178:
1177:
1175:
1171:
1167:
1159:
1154:
1152:
1147:
1145:
1140:
1139:
1136:
1127:
1125:
1120:
1114:
1111:
1106:
1104:
1099:
1094:
1093:
1088:
1083:
1081:
1078:Full text of
1076:
1074:
1070:
1069:
1060:
1054:
1050:
1049:
1044:
1043:
1036:
1032:
1029:
1026:
1025:
1012:
1006:
1002:
997:
996:
982:
975:
971:
967:
964:
963:
956:
941:
935:
921:
917:
913:
909:
903:
889:
885:
881:
877:
871:
869:
854:
850:
846:
842:
835:
821:on 2017-04-07
820:
816:
812:
806:
792:on 2017-04-08
791:
787:
783:
777:
769:
767:1-57958-423-3
763:
759:
758:
750:
746:
736:
733:
731:
728:
727:
723:
722:Novels portal
717:
712:
702:
699:
696:
693:
690:
687:
684:
681:
678:
675:
672:
669:
666:
663:
660:
657:
654:
651:
648:
645:
642:
638:
634:
631:
628:
625:
622:
619:
616:
613:
610:
606:
603:
600:
597:
594:
590:
587:
584:
581:
578:
574:
571:
568:
564:
561:
558:
555:
552:
548:
545:
542:
539:
536:
532:
529:
526:
523:
520:
517:
514:
510:
507:
504:
501:
500:
499:
491:
489:
485:
480:
478:
477:Princess Mary
473:
469:
467:
463:
462:
458:
455:In 1966, the
445:
442:
439:
436:
433:
430:
426:
423:
420:
416:
413:
410:
407:
404:
401:
398:
395:
392:
389:
386:
383:
382:
375:
373:
369:
364:This section
362:
358:
353:
352:
344:
342:
338:
334:
333:
328:
327:Claude Sautet
324:
322:
321:
316:
315:
311:'s 1963 film
310:
305:
302:
297:
296:
291:
286:
284:
280:
276:
272:
271:
266:
257:
253:
249:
243:
239:
235:
231:
227:
223:
219:
217:
213:
212:Eugene Onegin
209:
205:
204:Pechora River
200:
199:Romantic hero
196:
192:
188:
178:
176:
172:
168:
164:
160:
156:
151:
149:
145:
140:
131:
125:
114:
110:
109:
99:
95:
91:
85:
75:
71:
68:
65:
61:
57:
53:
49:
46:
43:
39:
35:
30:
22:
1310:
1302:
1294:
1286:
1281:The Fugitive
1271:
1249:
1241:
1222:
1214:
1206:
1188:
1187:
1179:
1129:(in English)
1123:
1117:(in English)
1108:(in English)
1102:
1096:(in Russian)
1091:
1085:(in Russian)
1079:
1067:
1057:(in English)
1046:
1039:(in English)
1016:(in English)
1000:
981:
973:
961:
955:
944:. Retrieved
942:. Bolshoi.ru
940:"Repertoire"
934:
923:. Retrieved
911:
902:
891:. Retrieved
879:
856:. Retrieved
844:
834:
823:. Retrieved
819:the original
814:
805:
794:. Retrieved
790:the original
785:
776:
756:
749:
700:
694:
688:
682:
676:
670:
664:
658:
652:
646:
632:
626:
620:
614:
608:
604:
598:
592:
588:
582:
576:
572:
566:
562:
556:
550:
546:
540:
534:
530:
524:
518:
508:
502:
497:
483:
481:
476:
474:
470:
459:
454:
424:
414:
365:
336:
330:
325:
318:
312:
306:
293:
287:
282:
278:
274:
268:
265:Albert Camus
263:
254:
250:
246:
237:
228:
224:
220:
187:Byronic hero
184:
159:Byronic hero
152:
107:
106:
105:
735:Tragic hero
730:Romanticism
635:Transl. by
511:Transl. by
415:Grushnitski
314:The Silence
290:Ian Fleming
216:Onega River
1343:Categories
1296:The Novice
1224:Masquerade
1122:Review of
946:2018-08-29
925:2017-04-07
893:2017-04-07
858:2017-04-07
825:2017-04-07
796:2017-04-07
741:References
466:Alan Bates
347:Quotations
195:melancholy
1164:Works by
920:1422-9994
888:1420-3006
853:0376-6829
429:melodrama
372:Wikiquote
177:in 1958.
124:romanized
73:Publisher
1329:" (1841)
1322:" (1841)
1283:" (1838)
1268:" (1837)
1261:" (1837)
1259:Borodino
1073:LibriVox
1031:Archived
966:Archived
708:See also
575:. — In:
425:Pechorin
370:over to
329:'s film
270:The Fall
267:' novel
167:Caucasus
163:antihero
63:Language
1327:Valerik
1173:Fiction
368:copying
320:Persona
197:of the
191:cynical
142:) is a
113:Russian
67:Russian
1315:(1841)
1307:(1841)
1299:(1840)
1291:(1838)
1276:(1837)
1254:(1836)
1251:Sashka
1246:(1836)
1227:(1835)
1219:(1831)
1211:(1830)
1192:(1840)
1184:(1836)
1007:
918:
886:
851:
764:
589:Taman'
533:. In:
301:SMERSH
115::
100:Russia
41:Author
1304:Demon
1235:Poems
1200:Plays
671:Vadim
531:Taman
419:farce
144:novel
1005:ISBN
916:ISSN
884:ISSN
849:ISSN
762:ISBN
621:Bela
173:and
161:(or
135:IPA:
92:1840
1051:at
431:.")
421:.")
307:In
292:'s
288:In
240:by
210:'s
146:by
1345::
1115:.
1037:.
910:.
878:.
867:^
843:.
813:.
784:.
218:.
133:,
121:,
1325:"
1318:"
1279:"
1264:"
1257:"
1157:e
1150:t
1143:v
1013:.
949:.
928:.
896:.
861:.
828:.
799:.
770:.
376:.
335:(
126::
111:(
82:)
23:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
