Composition on the topic “Lermontov and his generation. What is the tragedy of the "Lermontov" generation? (According to the lyrics of M. Yu. Lermontov.) (USE in Russian) Lermontov generation

1. Disappointment in his generation in the poem "Duma".
2. "Hero of our time": Pechorin as a typical representative of the generation.
3. Drama "Masquerade": the image of Prince Zvezdich.

In any outfit I will be rightfully
To recognize the anguish of existence.
I'm too old to know only fun
And too young not to want at all.
J. W. Goethe

The motive of disappointment in one's generation somehow runs through all the work of M. Yu. Lermontov. In the poem "Duma", the poet summarized the main ideas that arose as a result of observing the representatives of his generation. Already in the first line it sounds bleak:

Sadly, I look at our generation ...

Shamefully indifferent to good and evil,
At the beginning of the race, we wither without a fight ...

Neither art, nor love, nor enmity is able to overcome the coldness and alienation that many representatives of the Lermontov generation experience in life: And we hate, and we love by chance,

Sacrificing nothing to either malice or love,
And some kind of secret cold reigns in the blood,
When the fire boils in the blood.

The poet involuntarily compares his generation with people of past eras:

And our ancestors are boring luxury fun,
Their conscientious, childish debauchery...

No, the present generation is incapable of devoting itself entirely to anything, from the bottom of its heart—neither to pleasures, nor to great accomplishments.

Crowd gloomy and soon forgotten
We will pass over the world without noise or trace,
Not throwing for centuries a fruitful thought,
Nor the genius of the work begun.

We also find images of typical representatives of the generation in Lermontov's prose. The novel, which has become one of his most famous prose works, is not accidentally called "The Hero of Our Time". With this title, the author wanted to emphasize that Pechorin's character in general terms is typical of the entire generation in general. In the chapter "Bel" Pechorin tells Maxim Maksimych about himself, and this description is very similar to the portrait of the generation that Lermontov brought out in "Duma". In his youth, Pechorin enjoyed "madly all the pleasures that money can get", but they quickly got tired of them, which is not surprising: usually people do not appreciate what they get easily. Love did not touch the deepest strings of the heart young man. Pechorin himself explains why he lost interest in the sciences: “... I saw that neither fame nor happiness depend on them in the least, because the happiest people are ignoramuses, and fame is luck, and in order to achieve it, you just need to be dexterous. Then I got bored…”

However, if "Duma" is imbued with the spirit of accusation and denunciation, then in "A Hero of Our Time" the author sympathizes with his hero rather than accuses him, although he does not hide his weaknesses and vices. It can be assumed that the reasons for the indifference to everything and the painful boredom that own Pechorin are satiety with pleasures and the lack of a clear goal to which he could strive. On the eve of the duel with Grushnitsky, Pechorin reflects on the purpose of his existence in this way: “Ah, it’s true, it existed, and it’s true that I had a high appointment, because I feel immense strength in my soul ... But I didn’t guess this appointment, I got carried away the bait of empty and ungrateful passions ... ". These passions extinguished all the noble aspirations in Pechorin's soul. He became a cynic, that is, a person who, according to the apt definition of O. Wilde, knows the price of everything, but is unable to appreciate anything.

In the novel "A Hero of Our Time", the narration is mainly conducted on behalf of Pechorin himself, who sets out his thoughts and observations in his diary. Of course, with such a composition of the novel, the author's position remains “behind the scenes”. In the chapter "Maxim Maksimych" and especially in the untitled preface (to the whole novel), which are written on behalf of the author, and not his hero, we find some indications of how the author relates to his hero. He gives a description of the appearance of the hero, adding his own considerations. Lermontov points out that Pechorin's eyes "did not laugh when he laughed", and concludes that "this is a sign - either of an evil disposition, or of deep constant sadness." In general, the portrait of the “hero of our time” is given without expressed sympathy or hostility, rather with the interest of an outside observer. The same position of the observer is stated by the author in the preface, where Lermontov writes that "The Hero of Our Time ... is a portrait, but not of one person: it is a portrait made up of the vices of our entire generation, in their full development." The writer notes that he had "fun to draw modern man as he understands it,” however, he did not set himself the goal of drawing any moralizing conclusions, and even more so of pointing out the ways to correct the generation.

The portrait of another typical representative of the generation we find in the drama "Masquerade". Prince Zvezdich, as he can, kills time and money. He thinks little about what his actions can lead to, the prince is simply looking for entertainment, thrills. But, as the baroness aptly tells him, hiding her face under a mask: “You don’t know how to search.” The disease of Prince Zvezdich is the same as that of Pechorin and other similar individuals. This is indifference, boredom, lack of enthusiasm for at least something.

You want to fill life, but you run away from passions.

You want to have everything, but you don’t know how to sacrifice,” the baroness says to Zvezdich. In her words addressed to the prince, there is an accusation against him and his generation, despite the love of the baroness for Zvezdich:

You! spineless, immoral, godless,
Proud, angry, but weak person;
In you alone the whole century is reflected,
The current age, brilliant, but insignificant.

These words have much in common with Lermontov's Duma. And what is the author's attitude to Prince Zvezdich? We can guess this from the situations in which Lermontov places his hero: the prince is completely lost at cards, and only the intervention of Arbenin helps him to get out of an extremely delicate situation with honor; forgetting about the help provided to him by Arbenin, the prince tries to be nice to his wife; the prince fails to adequately repay the slap received from Arbenin, as he refuses to fight a duel with him. Perhaps the author sympathizes with his hero, but this sympathy is not without a contemptuous connotation.

And our ashes, with the severity of a judge and a citizen.
A descendant will offend with a contemptuous verse,
The mockery of the bitter deceived son
Over the squandered father.

With these words, Lermontov's "Duma" ends; they can also sum up the conversation about Lermontov's attitude to his generation.

The combination of the names Pushkin and Lermontov is very familiar to all readers who love and know Russian literature. Meanwhile, these are quite different poets. The themes and motifs of Lermontov's lyrics are peculiar and unique to speak about the similarity of these creators. Each poet remains an individual personality in his work.

One of the most famous works

The poetic biography of Mikhail Yurievich began at the moment when Alexander Sergeevich died. Literally a few days after the death of the genius, in the tragic January of one thousand eight hundred and thirty-seven, leaflets with Lermontov's poem, which was called "On the Death of a Poet", began to go from hand to hand. This date became the starting point in the poetic biography of Mikhail Yurievich.

In the forty-first year, he himself dies in a duel. Thus, his literary path turned out to be tragically small. It's just over four years old. And how disproportionate this period is with the significance of this creator in Russian literature.

Lermontov wrote many poems, but a very small part of them became known to the reader during his lifetime. There were reasons for this. The fact is that Mikhail Yuryevich did not belong to the literary circle. This poet kept to himself all his life.

Crazy thirst for creativity, but not for fame

He studied at the Moscow University noble boarding school, then for some time at the university and, having moved to St. Petersburg, entered the school of guards ensigns and cavalry junkers. All these institutions were the center of literary communication.

But for some time Lermontov did not even think about making a career in this field, despite the fact that during this period he writes with enthusiasm and passion. Hundreds of poems, poems and dramas were created, which Mikhail Yuryevich did not even try to publish.

Multifaceted and talented poet and prose writer

Mikhail Yurievich was a very gifted person. Many of his paintings and wonderful drawings have been preserved. He was also gifted musically. He brilliantly played the piano, violin, flute, sang delightful romances and even composed music himself. And many motives of Lermontov's lyrics often reflect his talents as an artist and musician.

Looking at the bizarre network of sketches made by the poet's pen on the pages of the manuscript, one can see the images haunting him. These drawings, like all the themes and motifs of Lermontov's lyrics, show how earthly and heavenly, angelic and demonic, sacred and vicious collide. In this world, the shocked soul of the creator is looking for the harmony of happiness, but does not find it. And as a human being, Mikhail Yurievich was deeply unhappy.

Change of eras and the main motives of Lermontov's lyrics

The times of 1830 were associated with a departure from romanticism. Such poetry is a thing of the past, and Mikhail Yuryevich, as a creator, appeared in the wrong era. The romantic directions of Lermontov's lyrics were perceived as something obsolete. One era was replaced by another.

In it difficult time and readers learned about the work of this poet. His poetry has been received in different ways. There were reasons for this. Mikhail Yurievich, not only in life, but in his works, is a person who adheres to extreme, radical convictions. Take, for example, "Death of a Poet". The image of a martyr painted in it belongs to a hero who has no chance of surviving on this earth. A poet who is called to an uncompromising struggle with the whole world.

But it's not. By the middle of his work, Alexander Sergeevich is trying to pay attention not to extremes, but to find a middle ground. The themes of Lermontov's lyrics express dissatisfaction with himself and the world, hopeless grief, flight, struggle and the impossibility of harmony. And the main tone of Pushkin's works is "bright sadness".

The torment of a creative personality

The main characteristic of Lermontov's lyrics is the element of negation, which is present in almost all the works of Mikhail Yurievich. The reader is constantly faced with the image of a person who does not agree to any harmony or half-hearted decisions, questions absolutely all the foundations of being.

The fate of a generation in Lermontov's lyrics occupies a significant place. Works with such a motive are filled with special torments. The protagonist's anxiety is eternal. And the poet transfers all these feelings of a persecuted lonely person, for whom there is not and cannot be any positive goal in life, to all modern posterity.

Here it is necessary to recall the verse "Duma", which describes a generation that has not managed to attach itself to a real cause. The work "And boring and sad." In the center is a person who would be glad to give his neighbor a hand, but he is lonely, and the reasons for this loneliness lie in the state of the world, which he is from the point of view of the hero. This is how the fate of a generation is expressed in Lermontov's lyrics. Life is full of confusion, loneliness and exile.

The difference between two generations of creators

The spirit of the Lermontov generation differed sharply from that of Pushkin. Between them lay the Decembrist uprising, which took place in 1825. After its defeat, a completely different atmosphere reigned. People who belonged to the previous opposition disappeared, a new one appeared, the postulates of which were reflected in the work of Mikhail Yuryevich.

This was also young people, mostly guards, who were very freedom-loving, but did not hope for any immediate good transformations. These are oppositionists of a different type - reflective heroes. And the fate of a generation in Lermontov's lyrics is revealed precisely with the help of such images. For example, the well-known Pechorin. This is a hero who defends himself all the time, he does not see harmony in the world, but he is looking for it and passionately yearns for it.

Fighting false feelings and hating attitude towards lies

But, in addition to the epochal and national, the fate of the generation in the lyrics of Lermontov has an eternal and universal meaning. And in one of the poems of Mikhail Yuryevich there are such words: "There is a feeling of truth in the heart of a person, a grain sacred to eternity ...". If you think about what is dear to Russian literature this great poet and a prose writer, then, of course, this is what he was able to convey to the new generation a sense of truth.

A passionate thirst for truth, hatred for any falsehood, a painful feeling of loneliness, skepticism corroding the soul and at the same time an insane desire for life, harmony, were reflected in a unique way in the characters and fates of the heroes of the poet and prose writer. Any themes of Lermontov's lyrics are full of images that strive to fit the whole world into their consciousness during their lifetime, to cross the line between life and death.

Images in famous works

The hero of the drama "Masquerade" longs for spiritual freedom and human participation. But boundless disbelief in life and people turns him into a killer. Kills himself. The main image of the poem "Mtsyri" is also dying, ready to exchange paradise and eternity for freedom.

And "Hero of Our Time" - the first socio-psychological novel in Russian prose? Arguing about freedom as the main value, Pechorin asks himself: "Why do I value it so much?" He is looking for answers, invading the lives of other people, sowing death and suffering around him. Dooms himself to tragic loneliness and cold bitterness.

The fatalist intentionally tempts fate and stays alive. But this is only a temporary reprieve. And "Song about the merchant Kalashnikov"? The hero of this poem confirms a person with his death. Turning to the folk sources of poetry, Lermontov passionately sought answers to the cardinal questions of life and death.

Everything connected with the memory of Mikhail Yuryevich Lermontov is an invaluable asset not only of Russian, but of the entire world culture. The memory of a genius will never die in the souls of his descendants. It serves as an inexhaustible source of inspiration, faith in life and love for the native land.

Sample essay text

The poetry of M. Yu. Lermontov retains its rare charm even after a century and a half, because in it we find "a union of magical sounds, feelings and thoughts." Many of the problems that interested the poet are long gone and have become history. But his poetry is still relevant today. Every thinking person, even far from art and literature, sooner or later thinks about the fate of the generation to which he belongs. What will he leave the world? What will be remembered, having earned a good reputation or reproach? These questions deeply worried Lermontov. And we have a great opportunity to find out what the great poet thought about his generation, what fate he predicted for him, referring to such works of his as "Duma" and "Monologue".

These poems, combined common theme, reveal it differently. The "Monologue" expresses the thoughts of the young Lermontov about his generation. But even almost a decade after the Duma was written, the spiritual image of the generation of the 1930s does not change. So, even in an early work, Lermontov managed to see him character traits and the reasons that gave rise to them. Speaking about the life of young nobles, his peers, the poet notes its monotony, aimlessness, joylessness, emphasizing this with expressive comparisons with images from the natural world: a northern plant, dull winter sun, empty storms:

Like the winter sun in the gray sky,

So cloudy is our life. So short

Her monotonous flow...

And it seems stuffy at home,

And the heart is heavy, and the soul yearns ...

Such an existence leads to early disappointments, to the loss of faith in love and friendship, kills the desire to enjoy the joys of life. Therefore, the Lermontov generation does not know youth, does not know "neither love nor sweet friendship." But the author notes that his young compatriots also have "deep knowledge, a thirst for fame and an ardent love of freedom." However, all these wonderful qualities are not needed in a society where violence, cruelty, emptiness reign. They turn out to be superfluous, because they do not find application. "We can't use them," says the author. Who then triumphs in society? A laconic and bitter answer is contained in the very first line of the poem: "Believe me, nothingness is good in this world." The whole poem is permeated with a sense of pain and suffering. lyrical hero thinking about the generation to which he belongs. The poet himself breathes in the stuffy atmosphere of Nikolaev Russia, so he perfectly understands the state and mood of his peers. After all, he is one of them. This is emphasized by the repeated use of the pronoun "we". In the "Monologue" the author's sympathy for his generation, which is not to blame for the tragic ending of the Decembrist uprising, sounds that the attempt to change the system of Russia through decisive action failed, marking the beginning of a political reaction in the country.

The Duma is filled with different moods. In it, Lermontov mercilessly judges his generation for the indifference with which it treats the future of the Fatherland and even its own destiny. Such a generation deserves nothing but the contempt of posterity. These thoughts evoke in the author a feeling of sadness with which he looks at his generation:

Sadly, I look at our generation!

His future is either empty or dark,

Meanwhile, under the burden of knowledge and doubt,

It will grow old in inaction.

These Lermontov's words not only express the attitude of the poet to his generation, but also indicate the reasons for his current depressing state. The young nobles of the 1930s have a brilliant education, they have rich knowledge, which, however, does not find worthy application, turning into a burden, that is, an unnecessary burden. At the dawn of their lives, these people witnessed the futility of the attempt of the first Russian revolutionaries to change the political system of Russia by force of arms. They paid the dearest price for this - life and freedom, some of them, unable to withstand prison and Siberia, renounced their views, enriching the next generation only with "the mistakes of their fathers and their late mind." Hence the peculiarity of the new generation - to question everything, disbelief in the possibility of change, and hence the realization of the futility of these attempts. And this inevitably leads to inaction - the very characteristic feature the spiritual image of the young nobles of the reaction era.

So, the main thing that Lermontov accuses his generation of is the refusal to fight, indifference to public issues. The passivity and aimlessness of the life of the poet's peers kills in them everything that makes up the joy of youth: the desire for knowledge "dried up the mind with fruitless science", the desire for love and passions led to satiety - "out of every joy, fearing satiety, we have extracted the best juice forever." Neither art nor poetry can excite Lermontov's contemporaries, since they have forgotten how to feel, experience delight or anger.

Dreams of poetry, creation of art

Sweet delight does not stir our mind;

We greedily keep in the chest the rest of the feeling -

Buried by avarice and useless treasure.

But most of all, the indifference of the young nobles was reflected in their inability to make sacrifices either in the name of love or in the name of hatred. The Lermontov generation is indifferent to its present, does not believe in the future, does not respect the past.

And our ancestors are boring luxury fun,

Their conscientious, childish depravity;

And we hurry to the grave without happiness and without glory,

Looking back mockingly.

Such a harsh assessment of his generation leads the poet to conclude that this bankrupt generation will pass over the world "in a gloomy crowd and soon forgotten", leaving nothing to people, "without throwing to the centuries either a fruitful thought or a genius of work begun." Therefore, it is doomed to be forgotten by descendants who will offend the memories of the people of the 30s of the 19th century "by the bitter mockery of a deceived son over a squandered father."

It seems that the great poet was too harsh towards his generation, which nevertheless left its noticeable mark on history. Evidence of this is the amazing Lermontov poetry, imbued with the spirit of rebellion, restlessness, striving for a high ideal. The ardent desire to awaken young minds and hearts for struggle and a real, full-blooded, bright life was dictated by the bitter and harsh lines of the Duma.

Bibliography

For the preparation of this work, materials from the site http://www.kostyor.ru/

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The noble intellectual, according to Lermontov, does not feel unity either with the "ancestors", or with the "fathers", or with the "descendants". The generation rejected the rough egoistic integrity of the "ancestors" ("And the ancestors are boring us with luxurious fun, Their conscientious, childish debauchery ..."). The "fathers" only increased their historical guilt. The people of the 1930s were too “rich” in this “late mind,” that is, in social cowardice, lack of firm convictions, integrity of character. By the will of historical circumstances, they turned out to be crossed out from the natural and regular world path. Neither "ancestors" nor "fathers" could satisfy them. But the generation did not have life-giving connections with the future (“His future is either empty or dark”).

The life of a generation passes by the history of the world, does not fit into the single stream of human life (“We will pass over the world without noise or trace, Without leaving a fruitful thought to the centuries, Nor the work begun by genius”).

Reflections on the place of “our generation” in history intersect with reflections on its inner essence. A "secret affliction" bound a generation, and all stages of its life - birth, youth, maturity and old age - are marked with the seal of death. The metaphor “the path of life” implemented in the poem (“And life is already tormenting us, like a smooth path without a goal ...”) contains two plans: the change of generations in history and the change of different stages of a separate human life. Birth and death - the extreme points of human life - are associated with the past (“We are rich, barely from the cradle, The mistakes of the fathers and their late mind ...”, “And we hurry to the grave without happiness and without glory, Looking mockingly back ...”). From future generations, people of the 1930s have the right to expect only insults and contempt (“And our ashes, with the severity of a judge and citizen, the Descendant will offend with a contemptuous verse ...”). The generation did not find life-giving unity either with the "fathers" or with the "descendants". It is internally and historically closed, doomed "from the cradle", and this doom colors its entire life path.

With these two plans is connected the third one, which explains the inner failure, the spiritual futility of the generation. It is devoid of inner strength, undermined from within. Life becomes painful, useless and unnecessary ("And life is already tormenting us, like a smooth path without a goal, Like a feast at someone else's holiday ..."). The inner emptiness, lack of spirituality of people (“So lean fruit, ripened before its time ...”, “We dried up the mind with fruitless science ...”, “Not leaving a fruitful thought for centuries ...”) are associated in the “Duma” with death and premature “old age”.

If for Pushkin the stages of a separate human life (birth, maturity, death) are natural and logical, just as the change of generations and times is natural and logical, then for Lermontov everything appears in a different quality. Pushkin - bright in sorrow - welcomes and affirms the natural course of life. For him, this is a historically inevitable universal law (“Do I wander along the noisy streets ...”, “I visited again ...”). Pushkin feels his blood relationship with the past, present and future. Each stage of his life is filled with special, unique emotions. Pushkin's wise sadness stems from faith in the regularity of being, in its ultimate progressiveness, in beauty. Pushkin takes the baton from the hands of the past generation and passes it on to the future:

Alas! on the reins of life With an instant harvest of a generation, By the secret will of providence, They rise, ripen and fall; Others follow them ... So our windy tribe Grows, worries, boils And presses great-grandfathers to the coffin. Our time will come, our time will come, And our grandchildren in a good hour Will force us out of the world!

It is completely different for Lermontov, who interprets the generation as doomed, having absorbed the dead, and not the living scum of the past, barren, leaving nothing to descendants. And this generation is waiting for a just historical retribution:

And our ashes, with the severity of a judge and a citizen, A descendant will offend with a contemptuous verse, A bitter mockery of a deceived son Over a squandered father.

But in the "Duma" there is no immobility. The difficult but inexorable pace of history is heard in it. Ridicule and accusation become cognitive conclusions, because they contain impulses towards something lofty, but still unknown. Lermontov's "descendant" begins with "mockery", accusing the generation "with the severity of a judge and a citizen."

Social and historical isolation is a disaster for the noble intellectuals of the 1930s. In his inner world, the individual found the source of movement towards a new morality, made himself the measure of everything that exists. The personality no longer obeyed the norms of official morality - they were completely alien to it. On the contrary, the world was judged in terms of personal morality. Man has freed himself from the shackles of official ideology, morality, and politics that disfigure him and are hostile to him. He wanted nothing to do with the immoral world. Thus, individualism affirmed the dignity, the value of the human person.

However, the seeming infinity inner world actually had a limit. Having made himself the measure of everything that exists, the criterion for evaluating the external world, man extended these criteria to himself. The measure of evaluation has become illusory. The criteria lay in the personality itself, and not in life. But where is the measure of the truth of the assessments themselves?

In "Duma" Lermontov expressed the tragedy of a generation

Image of his generation: disappointment and neglect

All these works, as we see, belong to recent years creativity of Lermontov. He comes to this topic already mature, having experienced youthful maximalism and recognizing this life. And he looks at his generation soberly and coldly, with disappointment, noting all its shortcomings.

“I look sadly at our generation!
His future is either empty or dark.”

This is what the poet says in the poem "Duma", this is how the further fate is depicted in Lermontov's lyrics. He does not skimp on bitter predictions: the memory of the generation will pass away "in a gloomy crowd", "without noise or trace", and "the descendant will offend this memory with a contemptuous verse."

The mockery of the son "over the squandered father" - this is what Lermontov compares the future memory of his generation with.
Why are his conclusions so caustic and disappointing? The generation of the 1830s was formed in "an era of timelessness and stagnation." It was his fate that had a bitter disappointment in the ideas of the Decembrists. After their defeat and execution, a period without ideas begins - some ideas are already dead, others have not yet had time to form. Memories of the failed uprising of 1825 are fresh in memory, and it is they that weigh on the generation of Lermontov.

“We are rich, barely from the cradle,
The mistakes of the fathers and their late mind,
And life is already tormenting us, like a smooth path without a goal ... "

What are the poet's peers interested in? Balls, duels, noisy and fun entertainment. And in literally often rich “barely out of the cradle”, they do not want to spend their energy on anything serious, their whole life is the pursuit of momentary pleasure, which, in turn, also does not please them ...

“And the ancestors are boring us with luxurious fun,
Their conscientious, childish depravity…”
"Thought".

All that remains for the current generation is a decent calmness and well-fed self-confidence, which nothing can disturb:

“On the faces of the festive ones, a trace of worries is barely visible,
Tears will not meet indecent "
"Don't trust yourself."

The fate of the poet during the generation of the 1830s

The theme of fate in Lermontov's lyrics sounds so sad also because, on the one hand, he is aware of his duty as a poet to stir up his generation: "Oh, how I want to embarrass their gaiety, / And boldly throw an iron verse in their eyes," on the other hand understands that even the most sacred thing, poetry, no longer touches them: “The dreams of poetry, the creation of art / Our mind does not stir with sweet delight” (“Duma”).
The fate of the poet is unenviable (and Lermontov considers the fate of the poet in its highest, prophetic meaning), which is incomprehensible to his contemporaries and not heard by them. This theme is clearly heard in the poem "Journalist, reader and writer", where the poet, who draws "pictures of cold debauchery", "decoratively brightened vice", in the end does not dare to bring all this to the public. He knows: he will be ridiculed and not heard, he will attract “anger and hatred” of the “ungrateful crowd” and asks himself a bitter question: “Tell me what to write about? ..”

1812-1830: comparison of generations

Lermontov sees the only joy in the fate of the past generation. He himself admits that he likes to "forget himself ... in memory of recent antiquity." The heroes of the war with Napoleon are still fresh in my memory, the year 1812 has not yet been forgotten, and the poet recalls it with joy and pride:

“Remembering, I freeze all over,
There the souls were excited by glory "
"Field of Borodino".

But on the other hand, there is no escape from the suggestive comparison of the generation of 1812 and the 1830s, and this comparison speaks for itself. From here comes the refrain repeated in Borodino: “Yes, there were people in our time, / A powerful, dashing tribe: / Bogatyrs are not you.” Heroes and daredevils are fading into the past, but completely different, weak and cowardly ones remain, seeking peace and security, and for the poet, who believed that “life is boring if there is no struggle in it,” there is nothing more terrible.
The result is logical: as Lermontov predicted "in the legends of glory" ("Borodino"), his generation really does not occur. The memory of him remained, but - is it not thanks to the poet's poems?

This review of the fate of generations in the life and work of the poet will help 9th grade students in preparing an essay on the topic “The fate of the generation of the 1830s in the lyrics of Lermontov”.

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