The Bakhchisarai fountain is a unique landmark and poem. Essay on the topic “An artistic analysis of the poem “The Fountain of Bakhchisarai” by Pushkin

This eastern poem was written by A. S. Pushkin during his southern exile in 1821-1823. The external decoration and legends of the palaces of the Crimean khans inspired the writer to create a work shrouded, like a cobweb, in the secrets and charm of Bakhchisarai flavor.

Alexander Sergeevich Pushkin, as you know, traveled a lot. He was often expelled from the capital, and during another period of southern exile, he visits Crimea and sees the Bakhchisarai fountain. Even before the trip, he was told a story about the prehistory of this monument. The poet really liked the story, and he set out to translate it into poetry.

For those who believe that they know almost the entire biography of Alexander Sergeevich by heart, it may be interesting to know that the poem is dedicated to his beloved. To whom did Pushkin dedicated it? The name of the inspiration forever remained a mystery and a source of controversy among avid “Pushkin scholars.” It was N’s ardent lover who told the author this dramatic legend about the inconsolable khan. “I superstitiously translated the story of a young woman into poetry,” the poet wrote on February 8, 1824 to A. A. Bestuzhev. In 1820, he personally went to Crimea to see the Khan’s Palace, but was somewhat disappointed. The impressions of the fountain from his lips will clearly repel dreamers who are already eager to go on a trip to the Caucasus. This is what he will write about this in a letter to Delvig:

Entering the palace, I saw a damaged fountain; Water fell drop by drop from a rusty iron tube. I walked around the palace with great annoyance at the neglect in which it was decaying, and at the semi-European alterations of some rooms. NN almost forcibly led me along the dilapidated stairs to the ruins of the harem and to the khan’s cemetery... Explain to me now why those places have an inexplicable charm for me?

The plot is based on the story of the Bakhchisarai Fountain of Tears. According to legend, Khan Giray took a Polish princess hostage, fell in love with her, and tried to achieve reciprocity, but to no avail. The captive was homesick in the harem and did not want to accept the advances of the enemy. The beloved wife of the ruler Zarem is jealous and desperately longs to regain the ruler's favor. In a fit of anger and passion, she kills her rival, and her lover, having learned about this, takes her life. Afterwards he tries to forget his unrequited love on the battlefield. After returning to Taurida, the khan, in memory of this story, orders the erection of a marble fountain in the corner of the palace. Above him is the Mohammedan moon. Nearby are two roses: red (Zarema) and white (Maria). Locals They called it the “fountain of tears” in honor of the sad legend.

What is the poem about?

“The Bakhchisarai Fountain” is read in one breath, like everything that comes from the light pen of Alexander Sergeevich Pushkin. The plot is simple: the proud Khan Girey is sad and stern with everyone. But he thinks neither about the war or the new laws, but about the beautiful Mary (Polish princess), who was taken prisoner and shuns the khan’s honors. Girey is in despair, the proud Pole only cries about her fate and avoids his loving glances. She does not want to be part of the harem, here the girls “bloom in dull silence,” languishing for years in anticipation of the khan’s mercy and condescension. Their whole life is waiting for Giray, who will fill them with love to the brim.

But the Polish princess is far from such morals and foundations; she, like Asya Turgeneva or Katerina Ostrovsky, thinks about freedom. Golden cage in the form of luxurious apartments, silks and pearls are not her favorite. But such signs of attention to the captive cause a sea of ​​envy among the rest of the “Arabian harem flowers that live behind the glass of the greenhouse.” The beloved concubine Zarema is angrier than others, because the abyss of oblivion threatens her because of Girey’s new passion; in despair, she begs Maria, on her knees, not to take away her happiness. After some time, the Polish princess receives her long-awaited freedom in the face of death. The inhabitants of the harem rejoiced, but in vain. The culprit of the tragedy is thrown into the abyss of water (she was accused of the death of the captive). In memory of the dead women, the inconsolable khan orders the construction of a fountain of tears, after which the work is named.

Main characters

The author confronts two mentalities in the images of proud and strong women, taking the plot of the legend as a basis. The main characters of the poem “The Fountain of Bakhchisarai” are Maria and Zarema. Pushkin intentionally recreates two completely opposite characters in order to show the original beauty of both. And also, in their example, a significant difference in traditions, which must be taken into account in any case, otherwise tragedy cannot be avoided. Comparative characteristics heroines will help you understand this even more deeply.

• Maria - Polish princess, her father's favorite. “Everything about her captivated me, her character, her movements.” Many asked for her hand in marriage, but she did not know love. She is characterized by disobedience and pride. In response to Giray's passion, she shows only indifference, although this is dangerous, because her fate depends on his will. But the woman is not going to be led by fear: she is driven by the awareness of her own rightness, and therefore she consistently seeks respect for her rights. Love of freedom is where the strength of her feelings is expressed. In contempt for captivity, she wastes all her temperament, which is why she captivates the khan with her discontent and severity. The captive is a “Byronic heroine,” that is, she yearns for the ideal (a free life with her family), longs for freedom and, not receiving this, withdraws into herself and prefers death to the lot of slavery. Her coldly beautiful beauty captivates, but does not warm.
• Zarema is a beautiful Georgian woman, her braid is twisted twice around her head, clear black eyes, a gentle voice. She sincerely loves the khan, does not want to share him with anyone, although she puts up with the harem, where her equal is, nevertheless, a person brought up according to strict canons. The woman is loving and is always ready to fulfill any request. She is submissive and flexible, the laws of the eastern world are clear to her, they also shaped her desire of the ruler, her whole life is in this sacrificial service. The passionate “Othello” in a woman’s guise always acts at the behest of his feelings, even the girl’s beauty is sensual, alluring, hot. The strength of her character is expressed in her firm decision to achieve her goal, even violating the will of the khan. She believes that she will make him better, free him from his melancholy. But she fails to contradict him further: having fulfilled her “duty”, she meekly accepts death from the hands of her beloved man.

The women even differ in appearance: one has a colorful oriental appearance and sensual beauty, the other has a bright angelic appearance and the attractiveness of innocence. Zarema sees the meaning of life in love, Maria does not know love at all. The Georgian woman is subject to the will of others and considers it happiness to obey the ruler and please him. The Polish princess proudly rebels against this power, not wanting to live by someone else's rules and accept the lot of a slave. The inhabitant of the harem goes to her death to free her beloved from misfortune, obeying jealousy. The captive dies for the sake of freedom and escape from Giray’s hateful passion.

The image system is built on the principle love triangle, therefore the conflict of the heroes is unresolvable. Therefore, one can understand Zarema’s logic: while Maria was not there, everything was going well, which means that the cause of suffering was in her. The khan’s actions also do not go beyond the bounds of reason: what kind of ruler is he if even his concubine goes against his will? He had to punish her as a warning to others.

the main idea

During the time of Pushkin, such a literary movement as romanticism was in full swing. The poet's earlier work is marked by corresponding features. This poem is no exception. Its main idea was the embodiment of an acute romantic contradiction between dreams and reality, which led to a conflict of feelings and characters that were intertwined together in the collision. The author was struck by the beauty and intractability of this tragedy, which occurred due to the inability of people to respect each other’s individuality. Khan is the embodiment of brute force, which sought to break the spirit of a man from another world, accustomed to living by different rules. This unreasonable desire to fit everyone into one standard led to a catastrophe: the two hemispheres clashed in an invincible conflict. But all he had to do was show a little understanding and tact, and Giray would have understood that Maria was not created for him, that they could not be together. However, the poet bitterly complains that originality is trampled upon by cruelty and narrow-mindedness.

The main ideological and thematic elements of the work fit perfectly into the principles of romanticism:

• Attention to personality, individuality, and inner world hero. This is suitable for characterizing all the main characters in the poem. He describes them carefully and thoughtfully, without missing a single important detail.
• Folklore basis, filled with symbols and metaphors. Pushkin's entire work is the legend of the Bakhchisarai fountain, told and retold.
• It is also implemented here Golden Rule Romanticism: “an exceptional hero in exceptional circumstances.” The princess is captured in exotic country, whose morals are far from her.
• Proud loneliness in the person of Khan Giray (due to unrequited love) and Maria (dissatisfaction with captivity, proud resistance). The heroes do not remain alone by the will of fate, but consciously go for it.
• The power of feelings, the absence of rationality is expressed in all respects. For example, in the behavior of the khan, especially after the death of his beloved.
• Striving for the ideal, clashing with reality. For Giray the ideal is mutual love with the beautiful princess; for Zarema - love, as before, before the capture of the Polish girl; for Maria - a carefree life before Giray’s attack on her country. All the heroes are faced with a romantic dual world: they are in a dream world, but reality does not allow them to fully enjoy their dream, because their desires are impossible to fulfill.
• Exotic environment, oriental flavor: palaces, decorations, fountains.

As a gift to the Bakhchisarai fountain, Pushkin brought one of his most beautiful poems, which glorified Crimea as a resort. In addition, opera and ballet were staged based on the work. Their plot completely repeats the story that the author embodied in poetry.

Interesting? Save it on your wall!

A. S. Pushkin’s poem “The Fountain of Bakhchisarai” immerses the reader in the atmosphere of the East. The author recreated the Bakhchisarai flavor through landscapes and interiors, shrouded in secrets and oriental aromas, images of the khan and concubines. The work cannot leave any reader indifferent. Schoolchildren get acquainted with him in the 10th grade. We suggest making your preparation for the lesson easier by reading the analysis of the poem presented below.

Brief Analysis

Year of writing - 1821-1823

History of creation- The work was written when the poet was in southern exile. The creation of Alexander Sergeevich’s poem was inspired by the Crimean landscapes, as well as a legend told to the poet by a young woman.

Subject- real love.

Composition- The features of the composition are dictated by the genre of the work and its content. The plot is revealed sequentially, important role in the implementation of ideological sound and reproduction internal state the main characters are played by non-plot elements.

Genre- Poem.

Direction- Romanticism.

History of creation

The history of the creation of the work is connected with the southern exile of A. S. Pushkin. Before going to Chisinau, Alexander Sergeevich in September 1820 stayed in the Raevskys’ house in Bakhchisarai. In a letter to Delvig, the poet admitted that he had previously heard about the Bakhchisarai fountain. Legends said that this was a monument erected by a loving khan. Pushkin went to look at this “miracle”, but was disappointed, because he saw a ruin.

Nevertheless, the Crimean landscapes did not leave the poet indifferent. Inspired the creation of a poem and a story by a young woman. She told Alexander Sergeevich a legend, which formed the basis of the work. It is known that the poet was in love with this very woman, as evidenced by his letters addressed to his brother. Researchers have not yet found out the identity of the beautiful admirer.

The years in which the work was written are 1821-1823. In 1821, the poet began work on the text of the poem, in 1822 he wrote the main part, and in the fall of 1823 he made the final edits. The Bakhchisarai Fountain was first published in 1824.

Subject

In “The Bakhchisarai Fountain” the analysis should begin with the characteristics main topic and image systems.

Eastern motives, as well as the motif of love, are common in world literature. A.S. Pushkin could not stay away from them. In the context central theme the author reveals moral problems: suffering due to unhappy love, revenge, life and death, religion, loyalty to one’s feelings, loyalty to one’s homeland.

At the beginning of the work, the reader meets Khan Girey. The hero is not happy, we will learn about the reason for this mood further. It turns out that in his harem appeared new girl- Polish Maria. Khan fell madly in love with her. The hero forgot about Zarema, the main wife, the beauty of the harem.

Zarema loves the khan. She decides to talk to Maria. The woman quietly makes her way into the Polish woman’s room. At this time the girl prays before the image of the Most Pure Virgin. Zarema first asks to leave Girey, then threatens Maria.

Soon Maria dies. Khan punishes Zarema by throwing her into the abyss. A man cannot forget his beloved Polish girl. He finds salvation in attacks on Russian lands. Returning from the war, he erected a fountain, which was called the fountain of tears.

The work develops the idea that true love is not limited by religion or age; true feelings cannot be forgotten.

Composition

The features of the composition are dictated by the genre of the work and its content. The plot is revealed sequentially; non-plot elements play an important role in realizing the ideological sound and reproducing the internal state of the main characters.

Genre

The plan for analyzing a literary work requires a mandatory description of it. genre features. The genre of the work is a poem, since it has a lyrical component (written in verse, lyrical indents play an important role, it is clearly expressed emotional background) and epic (plot) The direction of A. S. Pushkin’s poem “The Fountain of Bakhchisarai” is romanticism, as evidenced by the motives and features of the image of the khan.

Analysis of the poem by A.S. Pushkin "Fountain of the Bakhchisarai Palace"

The essay was completed by a student of class 10 "A" Simonova Svetlana

Average comprehensive school № 30.

SYZRAN

1999

Poem by A.S. Pushkin’s “To the Fountain of the Bakhchisarai Palace” was written in 1824 during his exile in the village of Mikhailovskoye, “in the far northern district.” The poet lived alone in an empty house, deep in the Pskov forests. Pushkin suffered, he recalled the South, Crimea.

The poem reflects his impression of visiting Bakhchisarai. In 1820 he visited this Crimean city and examined khan's palace. A very unsightly picture opened before Pushkin. “When I entered the palace,” the poet recalls in an excerpt from the letter, “I saw a damaged fountain; Water fell drop by drop from a rusty tube. I walked around the palace with great annoyance at the neglect in which it was decaying..."

However, in the poem, instead of a “rusty pipe” and prosaic “drops,” a fountain appeared, poetically idealized:

Your silver dust

Cold dew sprinkles me...

The plot of the work is connected with the Crimean legend about the Polish woman - a captive of the Khan's harem, Maria Pototskaya, which the poet heard back in St. Petersburg, in the Raevsky family. This story became the impetus for the creation of the poem.

The main theme of the poem is the love of the imaginary heroines of the poem “The Fountain of Bakhchisarai”:

Or Maria and Zarema

Just happy dreams?

Or just a dream of imagination

I drew it in the desert darkness

Your momentary visions,

Souls unclear ideal?

These romantic images are symbolized by two roses:

Fountain of love, living fountain!

We are talking about the “happy dreams of the poet” - Maria and Zarema. The images of the two heroines are given only as a “dream of imagination” of the author, without connection with historical and cultural problems. But in the description of the fountain we find a symbol that emphasizes the contrast between the two civilizations.

Pushkin gave his poem an oriental flavor. Hence, the decorated, metaphorical style, which is not typical for the poet (“poetic tears”, “silver dust”, “the pale harem light”, “pleasant key”), helps to be transported to the khan’s palace and feel the mysterious spirit of the past.

The emotionality of the work is achieved by expressive epithets: “living fountain”, “sad fountain”, “vague ideal”, “desert darkness”, “dream of imagination”.

The poem contains philosophical reflections on the perishability of human feelings, therefore the language of the work is rich in Old Slavonicisms: “non-silent”, “talking”, “cold”, “questioned”, “luminary”, “vision”, “really”, “praise”, “forgetfully” "

The work is written in iambic tetrameter.

Fountain of love, living fountain!

I brought you two roses as a gift.

In the first quatrain the rhyme is cross.

Fountain of love, living fountain!

I brought you two roses as a gift.

I love your silent conversation

And poetic tears.

In the second quatrain it is comprehensive.

Your silver dust

Sprinkles me with cold dew:

Murmur, hum your story to me...

Compositionally, the work can be divided into two parts. In the first, the poet refers to the fountain as a symbol of love. In the second part, the author transports his thoughts to distant times, trying to imagine the heroines, Maria and Zarema, within the walls of the Bakhchisarai Palace. Reflections on the past of the fountain evoke a sad mood. (“Fountain of love, sad fountain!”)

Thanks to his masterful use of sound, the poet achieves the effect of an incessant, falling stream of water:

Oh, pour in, pour in, the joyful key!

Murmur, hum your story to me...

It’s as if we hear the “non-silent chatter” of the fountain.

Melodiousness and smoothness of tone are achieved through assonance (the poem alternates vowels o-a-yu-e:

“Fountain of love, living fountain!”)

Vowels and consonants are successfully combined, sonorant sounds are often used

("Fountain of love... I love silently...")

Pushkin’s greatest mastery lies in the fact that this amazing selection of sounds was done naturally, as if imperceptibly; The words were chosen not according to their sound composition, but according to their meaning. Reading this poem, you think that there could not be any other words here.

For a poet, it is important not only to paint a picture of a fountain, but also to convey the sensations that it gives rise to. For this purpose, Pushkin uses the technique of default: ellipses in the second

Oh, pour in, pour in, the joyful key!

Murmur, hum your story to me...

and the third stanza

But you were silent about Maria...

Rhetorical questions and exclamations (“Fountain of love, sad fountain!”, “Are you really forgotten here?”, “Or are Maria and Zarema just happy dreams?”), nominative sentences (“The pale harem luminary!”, “Fountain of love, fountain alive!”) give the poem solemnity and frankness.

The forms of first-person verbs and the use of the personal pronoun “I” help to feel the presence of the lyrical hero in the image of the author himself (“I love your silent conversation!”, “And I asked about your marble,” “I brought you two roses as a gift”).

The poem refers to love lyrics Pushkin, to the genre lyrical work. Keyword of the work is the word “love” (“fountain of love”, “love the incessant talk”).

Thus, an analysis of the content and linguistic aspects of the poem “The Fountain of the Bakhchisarai Palace” allows us to see in Pushkin a great artist of words who created vivid examples of Russian poetry, deep in content and elegant in form. Therefore, turning again and again to the work of A.S. Pushkin, I want to exclaim:

…I will sigh in silent delight,

Listening to the sound of your strings.

The romantic hero, or rather the anti-hero, in the poem is Giray. His individualism is emphasized by Pushkin from the very beginning. Considering only his own will and desires, Giray tramples on the rights, feelings and dignity of other people. The tragic ending for such a hero is natural - he himself predicts it. “Genius and villainy are two incompatible things,” Pushkin will say in “Mozart and Salieri,” and this equally applies to the hero of “The Fountain of Bakhchisarai.” The law of world harmony predetermines that, having sowed death, grief and destruction in foreign lands, Giray himself reaps the same (compare with “The Tale of the Golden Cockerel”, where Dodon’s “reckoning” is predetermined already in the first lines, where it is stated that “from a young age He was formidable, and every now and then he boldly inflicted insults on his neighbors." Happiness and love cannot be built on bad actions and feelings. If the building is based on a rotten foundation, the building will collapse sooner or later (compare with Masha’s refusal to go with Dubrovsky after her wedding to Vereisky - in “Dubrovsky”, or Tatiana’s refusal to cheat on her husband - in “Onegin”). Maria cannot love Giray by definition. The hero is an individualist, busy only with your own feelings and desires, deaf to the suffering of other people, cannot count on love from them. Love, according to Pushkin, is a state of soul, inspiration, which by its nature gives more than it requires. Giray is not capable of such a feeling. Hence, the passion that Zarema burns towards him is quite logical. Zarema's passion, although strong, is also individualistic. First of all, she strives to completely own the object of her feelings, regardless of his feelings and desires (which is in direct contradiction with Pushkin’s humanistic worldview: see, for example, the poem “I loved you...”). In addition, Zarema’s passion from the very beginning is doomed to a tragic ending, since she “forgot the faith of earlier days” and what suffering Giray sowed in her native land. Thus, the individualistic hero receives the same thing; it is as if he finds himself in front of a mirror, which, reflecting the gaze of the Gorgon Medusa, kills her herself.

But for Pushkin it is also important that completely innocent people share this responsibility with the individualist hero. According to Pushkin, the individualist hero, like any person, is completely free to decide his own destiny, but not to dispose of others. However, in reality this does not work. The depth of Pushkin’s penetration into the problem lies in the fact that he revealed the very essence of the individualistic view of the world, its destructiveness and original depravity. According to Pushkin, any individualistic hero inevitably begins to control the destinies of others, since his entire system of views is inhumane and inhumane in its very essence. Therefore, living in a world that is humanistic in nature, an individualist hero, whose philosophy is opposite to the very essence of the world order, will inevitably cause destruction both in relation to the world around him and in relation to those people who in one way or another encounter such a hero. The individualistic hero is not responsible for other people, he is not even responsible for the consequences of his own actions, since the coordinate system of the individualistic worldview begins with the hero’s “I” and ends with him. Hence, the picture of general desolation that the author sees on the site of the former harem is quite natural. An individualistic hero, when he passes away, leaves nothing behind except destruction and grief, which, like wounds, soon heal, because any illness passes sooner or later.

It is no coincidence that the poet ends the poem with a kind of hymn to southern nature, which is all saturated with sun, joy and life. The life-affirming motive, the voice of nature itself, powerfully sounding at the end, shows that the whole story that happened here is akin to a bad dream, an obsession, now, however, half-forgotten (compare with “Blizzard” and “Undertaker” from “Belkin’s Tales”).

Pushkin’s “southern poems” are united under this name not only on the basis of the fact that they are similar in theme (southern, exotic subjects) and were written in the same creative period (1823-1824), but also on the basis of the ideas in them laid down.

The main goal of the southern poems is to debunk the individualistic philosophy on which the works of the romantics were based.

As you know, the creative style of romantics is characterized by the following features:

1. The philosophy of individualism, i.e., the focus is on a strong, exceptional personality, which, due to the inevitable antagonism of personal and social interests, opposes society. Finding in his inevitable loneliness and struggle for the sake of struggle itself a way to maintain a tragic-romantic worldview, a strong personality rejects the established norms by which ordinary people exist, he creates laws for himself. The main value of such a person is freedom, which always turns out to be more important than other values ​​(money, career, fame) or feelings (love).

2. Exceptional characters, i.e., the heroes of a romantic work are not real people or characters related to reality (and creating some kind of life-like verisimilitude), but of a kind perfect figures, built (designed) according to the scheme chosen for themselves by the romantics. This sets the coordinate system in which the romantics work - they are not interested in reality - they depict not “as it is”, but how, in their opinion, “should be”, i.e. they create an “ideal” world . In addition, an exceptional person is doomed to loneliness, since other people are unable to understand her restless soul. The people around us almost inevitably find themselves below the bar set for them by an exceptional person in his own image and likeness. Hence, the theme of disappointment in life arises as a constant motif of romantics.

3. Tragicism - that is, due to the fact that the contradictions between the hero and society are of a primordial, deep-seated nature, they cannot be resolved. The personality is doomed to exile, eternal wanderings, suffering, death, etc.

4. “Local color” - the world of people in a romantic work is very often opposed to the world of nature. However this special nature- usually exceptional, exotic. In many ways, she resembles the character of the most romantic hero in her exclusivity and natural, “primordial” riot (the antithesis of the world of people, i.e. civilization). This is a kind of attempt to construct an alternative, ideal world, an attempt to recreate nature (in accordance with the philosophy of individualism) in the image and likeness of an exceptional personality, or in other words, to expand the boundaries of this personality to the boundaries of the surrounding world. Two things follow from this: 1) in this world there is no place for other individuals, the world of nature, described by the romantics, is virgin and untouched by man, it is not even nature in the real sense of the word, but an element; 2) the world mirrors the hero’s feelings and states of mind.

Pushkin's southern poems are constructed using techniques characteristic of the romantics, but these techniques in Pushkin play a completely opposite role.

Ridiculing romantic techniques and cliches, which Pushkin resorted to in works containing “satirical-parody” motifs (for example, “Ruslan and Lyudmila”, “House in Kolomna”, “Count Nulin”), could not exhaust the polemic with romanticism - romanticism , as a serious philosophical and ethical direction, had, of course, certain social and psychological prerequisites for its emergence, and its own social soil. Not only the literary techniques of the romantics should have been criticized, but the very essence of their views, which was the philosophy of individualism. The romantics, while asserting the unconditional supremacy of the individual over the laws of society, did not hesitate to deny basic humanistic principles and often resorted to immorality. For Pushkin, these values ​​were sacred and unshakable, since in his coordinate system (humanistic in its very essence) they are what make a person a person. It was necessary to object to the romantics “in essence”, to reveal the destructiveness of the individualistic worldview.

It is precisely because of this that Pushkin’s anti-romantic pathos is concentrated in the “southern” poems on demonstrating the “hidden virtues” of the romantic hero - those about which the romantics themselves were silent. Pushkin shows the romantic hero in all his unsightly nudity, clearing the image of external romantic “beauty.” In Pushkin, he turns into an ordinary egoist who, in order to please his desires and ambitions, is ready, without a twinge of conscience, to trample on the dignity and honor of other people, to sacrifice them for the sake of his “ideal” ideas. Pushkin brings to the fore the hero’s fixation on himself and his not very attractive feelings, emphasizes his closedness to the outside world and, as a consequence of this, his inability to enjoy life and feel the beauty of existence.

It is precisely because of this premise of the description southern nature take on a completely different meaning - they do not reflect the restless, disharmonious soul of the main character, but, on the contrary, contrast with it. For Pushkin, a life-affirming principle is concentrated in nature, especially in the southern wild nature, which, as if born of the sun itself, while in the individualistic philosophy of the “romantic” hero, the life-denying principle predominates, since for the sake of the individual the surrounding world is denied.

Pushkin traces the path of the romantic hero, showing that it is precisely because of his individualistic philosophy that everything he touches, whatever or anyone he encounters in life inevitably collapses, all people who fall under the power of this “ strong personality"are suffering. According to Pushkin, romantic hero doomed to loneliness not at all because the world is bad (the world, being, according to Pushkin, are beautiful, they by definition cannot be bad), the romantic hero is bad, who, due to his selfishness and mental underdevelopment, does not see or hear anything around him.