Features of the composition of the work is a hero of our time. Compositional features of the novel by M.Yu

M. Yu. Lermontov wrote that in the novel “Hero of Our Time” he wanted to explore “the history of the human soul,” which is “almost more curious and not more useful than history a whole people." The entire plot and compositional structure of the work is subordinated to this goal.

“A Hero of Our Time” includes five stories, each of which tells about a particular extraordinary story in the life of Pechorin. Moreover, in the arrangement of the stories (“Bela”, “Maksim Maksimych”, “Taman”, “Princess Mary”, “Fatalist”) Lermontov violates the life chronology of the novel’s episodes. In reality, the events took place in the following order: Pechorin’s meeting with smugglers in Taman (“Taman”); the hero's life in Pyatigorsk, his romance with Princess Mary, duel with Grushnitsky (“Princess Mary”); Grigory Alexandrovich’s stay in fortress N (at the same time the story with Bela takes place) (“Bela”); Pechorin's two-week trip to Cossack village, an argument with Vulich about predestination, and then a return to the fortress (“Fatalist”); meeting with Maxim Maksimych on the way to Persia (“Maksim Maksimych”); death of Pechorin (Preface to “Pechorin’s Journal”).

Thus, Lermontov ends the novel not with the death of the hero, but with the episode where Pechorin, being exposed to mortal danger, nevertheless escaped death. Moreover, in the story “Fatalist” the hero questions the existence of predestination, fate, giving priority on our own and intelligence. Thus, the writer does not relieve Pechorin of responsibility for all the actions he committed, including those that he committed after his stay in the Cossack village. However, Lermontov talks about this at the end of the novel, when readers already know the story with Bela, when they read about the hero’s meeting with the staff captain. How to explain such a discrepancy?

The fact is that Pechorin’s character is static, the novel does not present the hero’s evolution, his spiritual growth, we do not see what is happening to him internal changes. Lermontov only varies life situations and guides his hero through them.

Thanks to a specific composition, Lermontov portrays the hero in “triple perception”: first through the eyes of Maxim Maksimych, then the publisher, then Pechorin himself talks about himself in his diary. A similar technique was used by A. S. Pushkin in the short story “The Shot”. The meaning of such a composition is to gradually reveal the character of the hero (from external to internal), when the author first intrigues the reader with the unusualness of situations and the hero’s actions, and then reveals the motives for his behavior.

First, we learn about Pechorin from a conversation between the publisher and Maxim Maksimych. The publisher travels “on a crossroads from Tiflis.” In the story “Bela” he describes his travel impressions and the beauty of nature. His traveling companion is a staff captain who has long served in the Caucasus. Maxim Maksimych tells his fellow traveler the story of Bela. Thus, “an adventurous short story turns out to be included in the “journey”, and vice versa - the “journey” enters the short story as an element that inhibits its presentation.”

The captain's story is thus interspersed with his comments, remarks from the listener, landscapes, and descriptions of the difficulties of the heroes' journey. The writer undertakes such “inhibition” of the plot of the “main story” in order to further intrigue the reader, so that the middle and ending of the story are in sharp contrast.

Pechorin’s “Caucasian History” is given in the perception of Maxim Maksimych, who has known Pechorin for a long time, loves him, but does not understand his behavior at all. The staff captain is simple-minded, his spiritual needs are small - Pechorin’s inner world is incomprehensible to him. Hence the strangeness, mystery of Pechorin, the incredibleness of his actions. Hence the special poetry of the story. As Belinsky notes, the staff captain “told it in his own way, in his own language; but from this she not only lost nothing, but gained infinitely much. Good Maxim Maksimych, without knowing it himself, became a poet, so that in his every word, in every expression lies an endless world of poetry.”

In “Bel” we see the world of the mountaineers - strong, fearless people, with wild morals, customs, but integral characters and feelings. Against their background, the inconsistency of the hero’s consciousness, the painful duality of his nature, becomes noticeable. But here Pechorin’s cruelty becomes especially noticeable. The Circassians in Bel are also cruel. But for them such behavior is the “norm”: it corresponds to their customs and temperament. Even Maxim Maksimych recognizes the justice of the mountaineers’ actions. Pechorin is an educated, well-mannered young man with a deep, analytical mind. In this sense, such behavior is unnatural for him.

However, the staff captain never criticizes Pechorin, although in his heart he often condemns him. Maxim Maksimych here embodies the morality of common sense, “which forgives evil wherever it sees its necessity or the impossibility of its destruction” (Lermontov “Hero of Our Time”). However, for Lermontov, such behavior is the spiritual limitation of the staff captain. Behind the reasoning of the “publisher,” amazed by the flexibility of mind and common sense of the Russian person, one can discern the author’s own thought about the need to fight evil, regardless of any extraneous conditions.

The story “Bela” is a kind of exposition in revealing the image of Pechorin. Here we learn for the first time about the hero and his life circumstances, his upbringing, and way of life.

Next, the “publisher”, a traveling officer and a writer talk about the hero. In the perception of the “publisher”, Pechorin’s meeting with Maxim Maksimych and a detailed psychological portrait hero (story "Maksim Maksimych"),

In this story, practically nothing happens - there is no plot dynamism that is present in “Bel” and “Taman”. However, this is where the hero’s psychology begins to reveal itself. It seems that this story can be considered the beginning of the revelation of the image of Pechorin.

“Taman” is the story of Pechorin’s relationship with “honest smugglers.” As in Bel, Lermontov again places the hero in an environment alien to him - the world of simple, rude people, smugglers. However, the romantic motive here (the love of a civilized hero and a “savage”) is almost parodied: Lermontov very quickly reveals true character relations between Pechorin and “ondine”. As B. M. Eikhenbaum notes, “in Taman the touch of naive ‘Rousseauism’ that may seem to the reader in Bel is removed.”

A beautiful undine from a wild, free, romantic world turns out to be an assistant to smugglers. She is decisive and cunning like a man: Pechorin miraculously manages to avoid death in a fight with her. Thus, the world of nature and civilization again turn out to be incompatible in Lermontov. However, in in a certain sense the story restores the semantic balance in the novel. If in “Bela” Pechorin rudely invades the measured course of life of the mountaineers and destroys it, “insulting” nature itself in their person, then in “Taman” “ natural world“does not want to tolerate any more interference from outside and almost takes Pechorin’s life.

As in “Bel,” in “Taman” the hero is compared with the surrounding characters. Bravery and daring coexist in the characters of smugglers with heartlessness and cruelty. Filming with permanent place, they abandon the blind boy and the unfortunate old woman to the mercy of fate. Human life in their eyes has no value: the undine could easily drown Pechorin if he did not resist. But these traits in the heroes are psychologically motivated and justified by their “wild, homeless life,” belonging to the “underworld,” the constant threat of danger, the constant struggle for survival.

But, noting the courage and heartlessness in Pechorin’s character, we do not find such motivations in his life. For smugglers (as well as for the mountaineers in “Bel”) this behavior is “the norm.” For Pechorin it is unnatural.

The next part of the story, “Princess Mary,” reminds us of a secular story and psychological novel simultaneously. Pechorin is depicted here surrounded by people of his circle - the secular aristocracy, gathered on the waters. As B. M. Eikhenbaum notes, after Pechorin’s fiasco, which he suffered in Taman, he “leaves the world of savages” and returns to the much more familiar and safer world for him of “noble young ladies and mistresses.”

The hero has a lot in common with this society, although he does not want to admit it. Thus, Pechorin is well versed in the world of intrigue, gossip, slander and farce. He not only exposes the conspiracy against himself, but also punishes its initiator - he kills Grushnitsky in a duel. Out of boredom, Pechorin begins to court Princess Mary, but, having achieved her love, he openly admits to her his own indifference. Vera appears in Kislovodsk, the only woman whom Pechorin “could never deceive,” but he cannot give her happiness either.

Failure in love is perhaps the most striking and significant characteristic of a character in Russian literature, which is a prerequisite for failure life position hero. Pechorin is morally bankrupt, and in the story “Princess Mary” he thinks about this, analyzes his own character, his thoughts and feelings. The story is the culmination of understanding the image of Pechorin. It is here that he reveals his psychology, his life attitudes.

Before the duel with Grushnitsky, he reflects on the meaning own life and does not find him: “Why did I live? for what purpose was I born?.. And it’s true, it existed, and it’s true that I had a high purpose, because I feel immense powers in my soul, but I didn’t guess this purpose, I was carried away by the lures of empty and ungrateful passions; I came out of their furnace hard and cold as iron, but I lost forever the ardor of noble aspirations, best color life..."

"Princess Mary" in a certain sense is also the denouement in storyline Pechorin: here he brings to logical conclusion human connections are especially important for him: he kills Grushnitsky, openly communicates with Mary, breaks up with Werner, breaks up with Vera.

In addition, it is worth noting the similarity of the plot situations of the three stories - “Bela”, “Taman” and “Princess Mary”. In each of them there is love triangle: he - she - rival. Thus, in an effort to avoid boredom, Pechorin finds himself in similar life situations.

The last story that concludes the novel is called “Fatalist”. In revealing the image of Pechorin, it plays the role of an epilogue. Lermontov raises here philosophical problem fate, fate, fate.

Vulich dies in the story, as Pechorin predicted, and this suggests that predestination exists. But Pechorin himself decided to try his luck and remained alive, the hero’s thoughts are already more optimistic: “...how often do we mistake for a belief a deception of feelings or a lapse of reason!... I like to doubt everything: this disposition of the mind does not interfere with the decisiveness of character - on the contrary “As for me, I always move forward more boldly when I don’t know what awaits me.”

Thus, the conclusion of "A Hero of Our Time" philosophical story meaningfully. Pechorin often does evil, fully aware true meaning of your actions. However, the hero’s “ideology” allows him such behavior. Pechorin himself is inclined to explain his vices evil fate or fate life circumstances etc. “Ever since I’ve been living and acting,” the hero notes, “fate has somehow always led me to the outcome of other people’s dramas, as if without me no one could die or despair. I was like necessary person fifth act: involuntarily I played the pitiful role of an executioner or a traitor.” Lermontov does not relieve Pechorin of responsibility for his actions, recognizing the autonomy of the hero’s free will, his ability to choose between good and evil.

Thus, the novel is imbued with unity of thought. As Belinsky noted, “the line of a circle returns to the point from which it left”1. The main idea of ​​the novel is the question of inner man, about his actions and inclinations, thoughts and feelings and the reasons that gave rise to them.

Lermontov's novel "A Hero of Our Time" became the first socio-psychological and realistic novel in Russian literature. half of the 19th century century. The author defined the purpose of his work as “the study of the human soul.” The structure of the novel is unique. This is a cycle of stories combined into a novel, with a common main character and sometimes a narrator.

Lermontov wrote and published the stories separately. Each of them can exist as independent work, has a complete plot, a system of images. First, the story “Taman” was written, then “Fatalist”, later the author decided to create a “long chain of stories” and combine them into a novel. The author considered the main task to be the disclosure of character and inner world a hero, an established representative of the generation of the 30s of the 19th century. Lermontov himself was from this unfortunate generation of noble youth who could not prove themselves by serving for the good of their homeland. The youth and time of maturity of these people passed under the conditions of government reaction after the suppression of the Decembrist uprising. Bright ideals were lost, life goals were absent. As a consequence of this social situation, heroes with the character of Pechorin appear.

While working on the novel, the author edited his work three times, changing the order of chapters. In the third, final edition, the stories follow in this order: “Bela”, “Maksim Maksimych”, “Taman”, “Princess Mary”, “Fatalist”. In the chapter “Taman” Pechorin’s notes begin, and in the story “Fatalist” they end. This composition allowed the author to realize philosophical meaning works.

The novel contains two prefaces containing comments for readers and critics. One was written for the novel as a whole, the other for Pechorin’s diaries. The diary can be classified as a genre component. The basis of the story is travel notes. The characters move through life and talk about their impressions.

Each story included in the novel has its own title and plot. In the novel, the author used a “ring composition”. It begins in the middle of events and ends with the ordinary, non-heroic death of the hero. After this, the events are described from their beginning to the middle. The uniqueness of the composition also lies in the fact that the action of the novel begins in the fortress and ends there. We know that Pechorin leaves the fortress for St. Petersburg, and then to Persia, but in the plot he returns to the fortress again. Lermontov builds his novel in the form of two parts, which oppose each other and at the same time are interconnected. In the first part, the hero is characterized from the outside, and in the second, his image is revealed from the inside. The composition of the image of the main character is also unique. The author introduces his hero to us gradually, revealing all his new features. In “Bel” Maxim Maksimych, a decent but simple man, talks about him. For him, Pechorin is a mystery, since representatives high society He had never met anyone with a broken psyche. The content of the next story slightly lifts the veil of mystery over the personality of the main character. Only Pechorin's diary, his confession, finally gives an idea of ​​the true thoughts and feelings of this controversial hero.

The writer shows his hero not as he grows up, but in different situations With different people. Younger or older hero in one story or another, is not of fundamental importance for Lermontov’s overall goal. The main thing for the author is to show Pechorin’s world of feelings, to reveal his moral principles. Moreover, Pechorin is an established person; he does not change during the course of the story, since he does not draw conclusions from what is happening to him. He is selfish and will never change, because he cannot be critical of himself. He is also unable to love anyone other than himself. Lermontov produced not a biographical novel, but a portrait novel, and a portrait of the soul, not the appearance. The author was interested in the moral changes that occurred with people of the generation of the 30s, for whom time stood still in the era of total prohibitions and suppression.

Thus, Lermontov's novel is distinguished by a violation of the chronological sequence of events and the fact that during the course of the story the narrator changes several times. This made the work original, innovative and allowed the author to penetrate deeply into spiritual world your hero.

Critics have defined the genre of A Hero of Our Time as psychological novel. When writing this work, M. Yu. Lermontov set out to show “the history of the human soul”, to reveal the inner world of the main character. M. Yu. Lermontov began work on the novel under the impression of his first exile to the Caucasus. At first, separate stories were written, which were published as they were written: “Bela”, “Fatalist” were published in the journal “Otechestvennye zapiski” in 1839, followed by the story “Taman”. Later, all five stories: “Bela”, “Maksim Maksimych”, “Taman”, “Princess Mary”, “Fatalist” - were combined into a novel entitled “Hero of Our Time”.

Critics and readers had mixed reactions to the image of the main character: some considered Pechorin a caricature of modern man, and the novel itself is immoral; others - that the image of Pechorin is a portrait of the author himself. M. Yu. Lermontov was forced to write a preface to the second edition, in which he commented on his perception of the hero and explained his creative principles. The author writes that his main principle when writing a novel is following the truth of life and critical assessment hero.

The stories that make up “A Hero of Our Time” are arranged in a certain sequence. This was done for a specific purpose: the author gradually immerses the reader into the inner world of the main character, revealing his character.

The work has three narrators. In the story “Bela” we see Pechorin through the eyes of Maxim Maksimych, a staff captain, who notes the “oddities” in Grigory Alexandrovich’s behavior, selfishness, and mystery. In "Maxim Maksimych" the role of the narrator is given to a traveling officer - a person closer in attitude and social status to the hero. He notes in Pechorin’s appearance the features of a strong, but internally lonely personality. In the next three stories - “Taman”, “Princess Mary”, “Fatalist” - Pechorin himself plays the role of narrator, who tells about his adventures in a seaside town, about his stay in Pyatigorsk, about an incident in a Cossack village. The reader learns about the hero’s feelings and experiences from the lips of the hero himself, who impartially analyzes his actions, his behavior, and motives. For the first time in Russian literature, attention was paid to great attention not events, but precisely the “dialectics of the soul,” and the form of a diary confession allows Pechorin to show all the “movements of the soul.” The hero himself admits that his soul is familiar with such feelings as envy, pity, love, hatred. But reason still prevails over feelings: we see this in the scene of the pursuit of Vera.

The author shows the hero in various life situations, surrounds the most different characters(Pechorin among the mountaineers, in the circle " honest smugglers" and "water society"). I think it's exceptional and at the same time typical hero of that time: he is looking for love, but he himself only brings suffering and even death; this is a person who lives a complex spiritual life, but is absolutely inactive or wastes energy on trifles; aware of his own vices and mercilessly condemning them in other people; a person who, according to V. G. Belinsky, “frantically chases... life, looking for it everywhere” and at the same time seeks death.

“A Hero of Our Time”: a novel or a collection of short stories?

Lermontov's novel “A Hero of Our Time” was created at the junction of two artistic methods: romanticism and realism. According to romantic canons, the image of the main character is developed deeply and is opposed to all other characters. The entire system of images is built in such a way that under different angles view is highlighted central character. Each hero is endowed complex character. These are completely realistic images.

The very title of the novel, “A Hero of Our Time,” suggests that the author considers personality in the context of society and era. “Hero of Our Time” - socio-psychological, philosophical novel. The conflict between the individual and society is more acute here than in Eugene Onegin. Pechorin “frantically chases after life,” but gets nothing from it. The conflict was embodied not only in a typical display of personality, but also in the depiction of representatives of the “water society”, their life and entertainment.

Pechorin has his own relationship with each hero. He strives by any means to break through the external mask of the heroes, to see their true faces, to understand what each of them is capable of." Pechorin confronts the "water society" that hates him, shoots with Grushnitsky, interferes in the lives of "peaceful smugglers", falls in love with young Bela , daughter of a peaceful prince.

The history of the relationship between Pechorin and Werner is full of drama. This is the story of a failed friendship between people who are spiritually and intellectually close.

In his relationship with Vera, Pechorin is most contradictory; here the forces that determine all his connections with people are brought to the maximum, to the highest intensity.

The problem of personality is revealed psychologically through a psychological portrait built on antitheses and oxymorons (“...his dusty velvet frock coat made it possible to see his dazzlingly clean linen,” his eyes “did not laugh when he laughed”), through introspection, through internal monologues(“I sometimes despise myself... isn’t that why I despise others?..”, “...why did I live? For what purpose was I born?.. And, it’s true, it existed, and, it’s true, it was for me high purpose..."

Without philosophical aspect In the novel, one cannot understand either the meaning of the era or the essence of the image of the main character. “Pechorin’s Journal” is filled with reflections on the meaning of life, on the relationship between the individual and society, on man’s place in the succession of generations, on faith and unbelief, and on fate. Compositionally, this topic is completed by the chapter “Fatalist”, rich in philosophical issues.

The main character trait of Pechorin is reflection. He constantly analyzes his thoughts, actions, desires, tries to uncover the roots of good and evil in one person. But Pechorin’s reflection is hypertrophied, it disfigures the soul, distorts the development of personality, makes both the hero and those with whom fate brings him unhappy.

The originality of the novel lies is that, despite the fact that the parts differ in genre, the novel does not fall apart and does not represent a collection of short stories, since all parts are united by one main character; the characters' characters are revealed from external to internal, from effect to cause, from epic through psychological to philosophical.

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Essay COMPOSITIONAL FEATURES OF THE NOVEL “A HERO OF OUR TIME”.

“Wishes? What benefit is there to wish for in vain and forever?

And the years pass - all the best years.”

M. Yu. Lermontov

“Hero of Our Time” is one of the first attempts to create a psychological realistic novel. The goal, the plan of M.Yu. Lermontov - to show the man of his time, his psychology, as the author himself notes, “ a portrait made up of the vices of our generation, in their full development".

In order to realize his plan, to reveal the character of the hero most fully and objectively, the writer uses an unusual compositional structure of the novel: the chronological sequence of events is broken here. It is not only the composition of the novel that is unusual. This work is a unique genre fusion - a combination of various genres already mastered by Russian prose: travel notes, a secular story, and the confessional diary, beloved by romantics, are used here.

Lermontov's novel is socio-psychological and moral-philosophical. " The main idea of ​​the novel lies in an important modern question about the inner man", writes Belinsky. The author’s desire to achieve maximum objectivity and versatility in the portrayal of the main character forces him to resort to a non-standard narrative structure: the author, as it were, entrusts the story about his hero to either a traveling officer, or Maxim Maksimych, or Pechorin himself.

If we want to restore the chronology of the events described in the novel, then we should start with the incident in Taman, through which the hero’s path to the Caucasus passes. Pechorin will stay in Pyatigorsk and Kislovodsk for about a month (“Princess Mary”), from where he will be exiled to the fortress for a duel with Grushnitsky. Pechorin leaves the fortress for the Cossack village (“Fatalist”). Upon his return to the fortress, the story of Bela’s abduction plays out. Then it happens last meeting reader with Pechorin, no longer a military man, but socialite, leaving for Persia (“Maksim Maksimych”). And from the preface of the officer-narrator we learn about the death of the hero. These are the events of the life of Grigory Aleksandrovich Pechorin in their chronological sequence. But Lermontov determined the order of the parts following each other outside of chronology real events, because each of the stories played its own special significant role in the system of the entire work.

Reading the story “Maksim Maksimych”, we get acquainted with the portrait of Pechorin, so psychologically subtly and deeply written by an educated and familiar writing work officer-narrator. He notices the whiteness of Pechorin’s skin, and his unlaughing eyes, full of sadness, and his “noble forehead,” and his “thoroughbred” beauty, and Pechorin’s coldness. All this simultaneously attracts and repels the reader. A direct look at the portrait of the hero makes him incomparably closer to the reader than the system of narrators through which we get to know Pechorin in the chapter “Bela”. Maxim Maksimych tells the story to the traveler-officer, who takes travel notes, and from them the reader learns about everything.

Then the author opens before us the confessional pages of Pechorin's Journal. We see the hero again from a new perspective - the way he was alone with himself, the way he could only appear in his diary, but would never open up to people. This is confirmed by the words from the preface to Pechorin’s Journal, from which it is clearly clear that it was not intended for the eyes of others, much less for publication. It was “the consequence of the observation of a mature mind over itself,” and it was written “without a vain desire to excite, participation or surprise.” Thus, Lermontov, using a similar “arrangement” of the chapters of his novel, brings the main character as close as possible to the reader, allowing him to look into the very depths of his inner world.

Carefully turning over the pages of “Taman”, “Princess Mary” and “Fatalist”, we finally comprehend Pechorin’s character in its inevitable duality. And, learning the causes of this “disease,” we delve into the “history of the human soul” and think about the nature of time. The novel ends with “Fatalist”; this story plays the role of an epilogue. And it’s so wonderful that Lermontov structured his novel this way! It ends on an optimistic note. The reader learns about Pechorin's death in the middle of the novel and by the conclusion manages to get rid of the painful feeling of death or the end. This feature in the composition of the novel made it possible for the author to end the work with a “major intonation”: “the novel ends with a perspective into the future - the hero’s emergence from a tragic state of inactive doom. Instead of a funeral march, congratulations are heard on the victory over death.”

While creating the novel “Hero of Our Time,” M. Yu. Lermontov found new artistic media, which literature has never known and which delight us to this day with the combination of a free and broad depiction of faces and characters with the ability to show them objectively, revealing one character through the perception of another.

In the novel “Hero of Our Time,” Lermontov focuses his main attention on depicting the “history of the human soul,” on revealing the character and inner world of the hero who lived in the 30s years XIX century. This is a time of absence of social ideals, the removal of the noble intelligentsia from social and political life.
The composition of the novel is determined by its concept and is subordinated to the task of most fully revealing the character and inner world of the main character. The peculiarity of the construction of this work is that Lermontov violated the chronological sequence of events described in the novel.
“A Hero of Our Time” consists of five stories. However, V. G. Belinsky argued that “this is not a collection of several stories and tales, but a novel in which one main character and one main idea.”
The novel has a “ring composition”: first there are chapters devoted to latest events in the life of Pechorin (“Bela”, “Maksim Maksimych”, preface to “Pechorin’s Journal”), then tells about earlier episodes of the hero’s life (“Taman”, “Princess Mary”). The last story sums up a kind of philosophical conclusion life's quest Pechorin: “I suggest you try for yourself whether a person can arbitrarily dispose of his life, or whether a fatal moment is assigned to each of us in advance” (“Fatalist”).
The uniqueness of the “ring composition” also lies in the fact that the action of the novel begins in the fortress and ends there. The motif of “prison”, “monastery”, “prisonership” is one of the main ones in Lermontov’s work. Associations involuntarily arise with the poem “Mtsyri” - the hero fled from the monastery, but by the will of fate he returned and died outside the monastery walls. A passionate desire for freedom, but the fatal impossibility of achieving it is one of the important thoughts in Lermontov’s poetry and the novel “A Hero of Our Time.”
The composition of the novel allows you to consistently change the “narrators”. First, other heroes talk about Pechorin, then he himself gives an analysis of his personality.
In the story “Bela” the reader learns about Pechorin from the story of Maxim Maksimych, a kind and decent man, but poorly versed in the complex and controversial nature Pechorin, in the subtleties of his soul. In the chapter “Maksim Maksimych” the narrator changes. The wandering officer, a subtle and observant man, draws a psychological portrait of the hero, notes the main thing about him: he is entirely woven from contradictions and contrasts. “His camp and broad shoulders they showed a strong build”, and in “the smile there was something childish”, “some kind of nervous weakness”; "despite light color his hair, his mustache and eyebrows were black”; the eyes “didn’t laugh,

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