On the manuscript of the poem "Mtsyri" there is a note: "August 5, 1839." But this is only the date of completion of the work on the work. His idea goes back to the poem "Confession" (1831). By 1831, the plan for a more extensive work on the same topic also applies: “To write notes of a young monk of 17 years old.” This idea was partially embodied in the poem "Boyarin Orsha", which was never published by the poet. Caucasian impressions gave him rich material for deepening a long-standing plan.

"Mtsyri" and "" are in a complex relationship of mutual correlation and opposition. The "disembodied spirituality" of the Demon is opposed by the "spiritualized flesh" of Mtsyri as a specific earthly person. The universal-cosmic plot that prevails in The Demon is replaced by the image of the hero's earthly life, attached to a certain place and time. Mtsyri, like the Demon, gives an "inviolable" oath. Both heroes outline a lofty goal that should lead them to a “new life”. The demon seeks to overcome through love. Mtsyri's ideal is wider: for him he is not in the union of two loving souls, but in a broad unity with people, relatives and friends not only in blood, but also in spirit. Hence, in him such a thirst for "flaming chest Press with longing to the chest of another, Though unfamiliar, but dear." Rebellious and freedom-loving no less than the Demon, Mtsyri is alien to demonic individualism.

In "Mtsyri" the hero is closer than in "The Demon" to Lermontov's contemporary real socio-historical reality. The tragic mountaineer, rushing from captivity to regaining his lost freedom, but never reaching his goal, was extremely in tune with the Lermontov generation. At the same time, the heroic pathos of the uncompromising struggle, inspiring Mtsyri until the end of his short life, was the most direct reflection of Lermontov's ideal.

Contrary to the seeming “monologic nature” of the poem, in which the confession of its only hero acts as an ideological and compositional center, it, like “The Demon”, is internally dialogic, which expands its semantic spectrum. The most common interpretation of the image of Mtsyra is that of a “natural person” who is faced with the destructive power of “civilization”, which has torn him away from his “natural state” and imprisoned him in a monastery. With this consideration, the hero loses his inherent internal dynamics, and the image - its inherent ambiguity. The years of Mtsyri's stay in the monastery, the forced initiation into "civilization" were saturated not only with the bitterness of loss and suffering, but also with certain gains. The unusual nature of his position and fate makes Mtsyri think about problems that are unusual for the "natural" consciousness. Along with dreams of homeland and freedom, a desire is born in Mtsyri to know the world around us, the degree to which it corresponds to the dreams and ideals living in it (“A long time ago I thought To look at distant fields, To find out if the earth is beautiful, To find out, for the will or prison On this light we will be born. The thoughts of the hero testify to the intensive formation of not only consciousness, but also self-consciousness - the most important personal property of a person, leading him out of natural immediacy. This thirst for knowledge, the desire to solve for oneself the most important question of the measure of human freedom unexpectedly brings Mtsyri closer to the "king of knowledge and freedom" - the Demon.

Unlike the "evil spirit" of the Demon, Mtsyri comes into closest contact with nature. But this communication does not come down to its harmonic merging with the natural world; dissonant notes are no less significant here. More recently, the former beautiful nature suddenly appears to the hero in the guise of a dark and silent, unresponsive world (“I tore with a desperate hand Blackthorn, tangled with ivy: The whole forest was, the eternal forest around”). The culmination of the metamorphoses of nature in its relation to man is the scene of the mortal fight between Mtsyri and the leopard. In it, the heroic essence of the character of the hero is revealed with the greatest force. Despite all the closeness to nature, Mtsyri is a representative of another "kingdom", the human one, which cannot be built and exist only according to natural laws.

On the way to the "land of the fathers", Mtsyri experiences another meeting, which has both a direct plot and a symbolic-generalized meaning - a meeting with a Georgian girl, which in its own way unites two life spheres - nature and the human "natural state". But Mtsyri overcomes the temptation of secluded happiness and peace far from his homeland, from the "world of worries and battles." Like his compatriot Izmail-Bey from the poem of the same name, Mtsyri could say: “No, not a peaceful share, But my fate is doomed to battles, homeland and will.” He never entered the saklya, where the young Georgian woman hid: “I have one goal, To go to my native country, I had it in my soul.”

The internal dialogue of the hero's monologue should be considered separately. Mtsyri in his confession is constantly turned to his listener - the monk, he always seems to be arguing with him, and often with himself. This dialogical confession-monologue of Mtsyri is explained by the fact that not only the Demon, but also Mtsyri is far from harmony, external and internal. One of his contradictions - between the strength of the spirit and the weakness of the body - reflects not only the detrimental effect of the monastic, "dungeon" atmosphere on him, but also a deeper "discrepancy", no longer socio-historical, but philosophical, between the endless possibilities of the human spirit and the finiteness of the existence of the "mortal" human body. This and similar contradictions serve as a source of dialogic conflict in the mind of the hero of opinions and "doubts". The internal dialogism of Mtsyri's confession is complicated by the penetration into it of a "foreign" word, in some ways accepted and in some ways rejected. So, the approaching death for Mtsyri is a return "again to the One Who gives everyone the right sequence of suffering and peace." Here sounds the religious motif of the return of the human spirit to its "heavenly homeland". But right there, interrupting this foreign word, deeply penetrated into the consciousness of the hero, his own “counterword” sounds. Reflecting on the inevitable and imminent death, on the heavenly paradise that the “fathers of the church” promise people, Mtsyri exclaims: “But what is it to me? - albeit in paradise, In the holy sky beyond the clouds. My spirit will find a home... Alas! - in a few minutes Between the steep and dark rocks, Where I played as a child, I would trade heaven and eternity. The God-fighting orientation, although not as obvious as in The Demon, is internally organic for Mtsyra as well.

The dialogic nature of "Mtsyri" is not reduced to an internal dialogue in the hero's confession. In the structure of the poem, there is not explicitly expressed, but much defining dialogue between the author and the hero, which, together with other types of dialogicity, creates the “big dialogue” of the poem. In this regard, the epigraph to the poem is significant, highlighting the diversity of its socio-historical, philosophical and humanistic content. The epigraph is a modified quotation from the Bible: "Eating, I tasted little honey, and now I die." Even outside the context of the biblical legend, the epigraph, "talking" with the text of the poem, gives a whole bunch of meanings. One of them: "I have lived little, tasted the blessings of life even less and should already die - is this the highest justice?" Or: "Why is human life so fleeting and poor in the face of inexhaustibly rich and eternal nature?" This series of meanings is opposed by others, for example: "I lived a little, but I joined the main thing in life - freedom." The semantic richness of the dialogic subtext of the poem is multiplied when referring to the biblical context of the epigraph, according to which the young man Jonathan (whose words are included in the epigraph of the poem), who helped the people to defend their freedom, was condemned to death for violating the royal "reckless" ban. And then the people murmured: “Shall Jonathan die, who brought such great salvation? Yes, this will not happen! And he freed the people of Jonathan, and he did not die.” “Earthly honey” acquires in the intertextual dialogue the meaning of not just earthly goods, but also their “sworn” taboo, becomes a symbol of restrictions imposed on a person by official morality, despotic power. The epigraph, on the one hand, emphasizes the injustice of prohibitions that limit the fullness of earthly human life, and on the other hand, the legitimacy of protest against all earthly and heavenly "spells" that turn a person into a humble executor of someone else's will and laws alien to him. With great tragic force, the poem, as it were, states: "And the people of Mtsyri did not liberate, and he died." But in this, there is no fault of the people, just as there is no fault and a hero. Here, rather, their misfortune: they are in a violent separation from each other. Mtsyri rushes to his homeland, to his people, but does not find a way to it, and this is one of the sources of his tragic doom. Nevertheless, even on the verge of death, he does not give up loyalty to freedom, homeland and his people.

The ideological and artistic originality of M. Yu. Lermontov's poem "Mtsyri"

M. Yu. Lermontov's poem "Mtsyri" is dedicated to the most important in creativity
the poet's theme of freedom. Its name is translated from Georgian
has two meanings: "non-serving monk" and "foreigner". Lermontov
traveled a lot in the Caucasus, and the admiration of the amazing
nature, proud characters of the highlanders formed the basis of the poem. Initial
the epigraph to "Mtsyri" was the French aphorism "Motherland
there is only one", reflecting the desire of the protagonist
return home from captivity. Lermontov replaced the French epigraph
passage from the Bible: “Eating, tasting a little honey, and behold I die
", which means "I have tasted little honey and should already die."
The second epigraph reflected the meaning of the poem more widely: not only as
the desire of the hero to return home, but as a desire for freedom, for which
have to pay with their lives.
The plot of the work is simple: the captive little mountaineer was left
in the monastery where he grew up, was going to become a monk, as
suddenly escaped and was found dying on the third day. Interesting,
that the grain of the plot was Lermontov's conversation with the monk, also
a child who ended up in a monastery not of his own free will, but resigned over the years
with fate. The composition of the poem helps us understand the author's
intent. The work consists of 26 chapters: the first two represent
is an introduction, and the rest are the confession of a dying
Mtsyri, in which he talks about three days of freedom. Not difficult
guess that it was these free days that were real life
hero, for them he is ready to die.
The introduction says that the monks were surprised by the sudden
the disappearance of Mtsyri, who seemed to be accustomed to captivity and was going
"in the prime of life to pronounce a monastic vow." However, in confession
Mtsyri immediately declares to the old monk that he could never put up with
with life in captivity:
I knew only one thought power,
One fiery passion...
It was a dream of freedom and return to his native village. drawing
flight of Mtsyri, Lermontov uses the technique of parallelism: the state
the hero's soul is in tune with the state of nature. Mtsyri leaves
monastery in a storm. The monks, frightened by the storm, lay prostrate on the ground
”, and Mtsyri boldly rushed into the midst of the elements:
...I ran. Oh I'm like a brother
I would be happy to embrace the storm!
All three days of the hero's wanderings take place in his close merging with nature.
In the mouth of Mtsyra Lermontov puts an inspired hymn to beauties
Caucasus. The hero of the poem is surprisingly sensitive to the environment.
world. Running away from people, he begins to feel like a part of nature:
I myself, like a beast, was a stranger to people
And he crawled and hid like a snake.
The world is seen by Mtsyri as spiritualized: rocky ledges leading
into the abyss - this is the ladder of the evil spirit; dew in the "God's garden" -
"heavenly tears"; the sky is so clear that an 'angel's flight is diligent
eyes could follow." Mtsyri left not from people, but from his unwitting
jailers - monks. The hero strives to get to his homeland,
to compatriots. It's hard to imagine the excitement I felt
a lonely young man, seeing a young Georgian woman who came out
for water. A simple song that a woman hummed forever sunk
into his soul. Mtsyri did not dare to enter the saklya after the woman, his
pushed forward by the desire to go home. Making my way through the thicket
the hero lost his way and felt despair. But even in this state
Mtsyri does not want human help, he feels like a "steppe
beast "and, meeting at night in the forest with a leopard, takes the fight.
The battle between Mtsyri and the leopard can be considered the culmination of the poem.
The young man perceives a meeting with a wild beast as his own test
on masculinity, he wants to prove "what could be
in the land of fathers, not one of the last daring ones. Mtsyri wins
over a ferocious enemy, but there is no real triumph:
fate does not want to show the hero the way home. When wounded and tormented
Mtsyri comes out of the forest, he is horrified to recognize a familiar
the sound of the monastery bell:
And then I vaguely understood
What is the trace to my homeland
Never lay.
The exhausted young man falls, he is tormented by death delirium,
when the monks find him and bring him to the monastery. Of course, Mtsyri
was exhausted by three days of wandering, but the main reason for his
death is hopelessness: having been at liberty, he cannot return
to the monastery. Not reaching his native village alive, he
wants to reach him mentally at the last minute and asks
move it to the garden, from where the Caucasus is visible.
The fate of Mtsyri is tragic, but the story about him cannot be called
sad and gloomy. On the contrary, the whole poem is a hymn to freedom, admiration
the beauty of the world and the mighty human spirit. "Mtsyri" -
romantic work: its main character is a rebel
a loner who feels in his soul a conflict between the ideal and reality,
events take place against the backdrop of exotic nature.

The poem "Mtsyri" by Lermontov, written in 1839, is the pinnacle of the development of the classic Russian romantic poem. When creating it, Lermontov adhered to the traditions of the Byronic poem, but at the same time he managed to bring into the work exclusively his own, author's features. "Mtsyri" tells the story of a typical romantic hero. At the same time, the composition of the poem "Mtsyri" by Lermontov, as well as its plot, are peculiar.

Composition features

The poem is divided into two unequal parts. The first, which occupies two chapters out of twenty-six, introduces the reader to the scene (a description of the monastery is given), and briefly tells about the life of the hero before the events. Here, in the second chapter, the plot of the poem "Mtsyri" is described. The main character, a captive Caucasian boy, was brought to a monastery, where, after a long illness, he remained to live as a novice. In the monastery he was educated, learned a foreign language and was preparing for the tonsure, but one thunderous night he disappeared. An unsuccessful search lasted for three days, but when the monks finally found him, Mtsyri was already dying. Gathering the last of his strength, he delivers his famous confession.

The whole fate of the protagonist is revealed already during the reading of the second chapter, but, in this case, what is most of the poem devoted to? In it, Lermontov gives the floor to his main character, gives Mtsyri the opportunity to "tell his soul." The experiences of the romantic hero, his search for freedom, both external and internal, and, in the end, despair from the failure that befell him - this is what is the basis of the remaining twenty-four chapters. In order to reveal the inner world of Mtsyra as fully as possible, Lermontov chooses the form of confession, which was considered one of the most successful forms for romantic works.

As you can see, the composition of Mtsyri's poem contains all the main elements that go in direct order. The exposition is given - a story about the life of the hero in the monastery, the plot of the plot can be considered the moment of Mtsyri's escape from the monastery. There is also a traditional ending for a romantic poem - the death of a character. With the main elements of the poem preserved, the features of the composition "Mtsyri" lie precisely in the ratio of time plans in the poem and the size of the parts of the composition. The emphasis is on the three days spent by Mtsyri at large: the poem is dedicated to them, and not to the rest of the hero's life. Lermontov emphasizes the significance of these days compositionally, thanks to their extensive description. He also refers to artistic and stylistic techniques. The change of a dry, short, like notes in a diary style of narration at the beginning of the poem to a figurative, and in some places even an enthusiastic speech on behalf of the protagonist once again emphasizes the significance of his confession.

The climax of the poem

An important compositional element necessary to move the plot forward is the climax - the moment of a direct collision of the hero and his antipode, or the struggle of their ideas. In the case of Mtsyri, the episode of the battle between the hero and the leopard can be called the climax of the poem. Here Mtsyri appears before the reader at the peak of his physical and spiritual beauty. He not only wins, but also merges with nature into a single harmonious whole. The moment of his triumph is not overshadowed by hatred for the opponent, Mtsyri sincerely admires him and revels in the beauty of the battle. For him, this is a confrontation on an equal footing. This is also unusual for a classic romantic poem, which usually has a well-defined side of good and evil. In Lermontov's poem, it is impossible to indicate with certainty who is considered the main opponent for the hero and on the opposition of what the plot of "Mtsyri" is built on the opposition of what.

Features of the conflict in the poem

Nature in the poem is personified, it is an active character, and its manifestations: a leopard, a dark forest, daytime heat lead the hero astray and close his way to his homeland. This is due to the fact that Mtsyri, as he speaks of himself, is a child of captivity, a “flower” grown in the monastery walls. An overly bright ray of the sun - this is how free life is metaphorically indicated in the poem - can destroy it, which is what happens. But nature cannot be considered an enemy for the protagonist, since he himself is part of it, and only in unity with her can he consider himself happy. “Three blessed days” - this is how Mtsyri recalls the days spent in the wild.

One can consider the main enemy of the hero to be the society that gave rise to such ugly things that crippled the fate of Mtsyra, like war and a monastery. But society is given in the poem rather as a subtext, it is not directly expressed anywhere. The hero complains that he "will die a slave and an orphan", but at the same time he does not seek to accuse anyone: "And I will not curse anyone!" Lermontov leads the reader to the idea that this conflict is unresolved, because not only the monastery, but the whole world becomes a prison for Mtsyri. Raised by strangers, he was cut off from his native culture, and now it is just as hostile and incomprehensible to him. The only possible way out for him is death, and the death of Mtsyri in the poem is not dictated by the requirements of the plot of a romantic poem, it is the only means of resolving the conflict.

The action of the poem begins in the monastery - it will end there. Therefore, the composition "Mtsyri" refers to closed compositions. Thanks to this isolation, Lermontov's favorite motive sounds especially strong in the last lines - the motive of fate, inevitable and inevitable. “But in vain I argued with fate: / She laughed at me!” - exclaims Mtsyri before his death. A carefully constructed composition, combined with an unusual plot, help to fully reveal the tragedy of Mtsyri's life and raise Lermontov's poem to the heights of romantic creativity.

Artwork test

One of the favorite books of youth is Lermontov's poem "Mtsyri". Passionate, written as if in one breath, it is close to youth with an irresistible impulse to happiness, brightness and certainty of feelings. Since the end of the last century, the poem has taken a firm place in the annals of Russian literature. The main idea that needs to be conveyed is the idea of ​​the indestructibility of the human desire for freedom and happiness and the naturalness of this desire. The main feeling is a feeling of pride in a person for whom death is better than life in captivity and away from home. The plot of the poem is simple: is it the story of Mtsyri's short life, the story of his failed attempt to escape from the monastery? Mtsyri's life is poor in external events; we only learn that the hero never experienced happiness, from childhood he was captured, suffered a serious illness and found himself alone in a foreign land and among strangers, monks. The young man makes an attempt to find out why a person lives, for what he was created. Escape from the monastery and three-day wanderings: they acquaint Mtsyri with life, convince him of the meaninglessness of the monastic existence, bring a sense of the joy of life, but do not lead to the desired goal - to return the homeland and freedom. Not finding a way to his native country, Mtsyri again ends up in a monastery. His death is inevitable; in his dying confession, does he tell the monk about everything that he managed to see and experience during the “three blessed days”? In the poem, such a sequence in the presentation of the plot is not sustained. The composition of "Mtsyri" is very peculiar: after a short introduction, depicting the view of an abandoned monastery, in a small second chapter-stanza, Mtsyri's whole life is told in a calm epic tone; and all the other stanzas (there are 24 of them) represent the hero's monologue, his confession to the black man. Thus, the author spoke about the life of the hero in two stanzas, and a whole poem was written about the three days spent by Mtsyri at large. And this is understandable, since three days of liberty gave the hero as many impressions as he had not received in many years of monastic life. In the center of the poem is the image of a young man placed by life in unusual conditions. Monastic existence is poor in external events, it does not bring joy to a person, but it cannot destroy his aspirations and impulses. The author focuses on these aspirations, on the inner world of the hero, and the external circumstances of his life only help to reveal the character. Mtsyri's monologue allows the reader to penetrate into the innermost thoughts and feelings of the hero, although the young man at the beginning declares that his story is only about what he saw and what he did, and not what he experienced (“can you tell the soul? ' he turns to the monk). The composition of the monologue makes it possible to gradually reveal the inner world of the hero. First (stanzas 3, 4, 5) Mtsyri talks about his life in the monastery and reveals something that was not known to the monks. An outwardly submissive novice, "a child's soul, a monk's fate", he was possessed by a fiery passion for freedom (stanza 4), a youthful thirst for life with all its joys and sorrows (stanza 5). Behind these dreams and aspirations of Mtsyri, the circumstances and reasons that brought them to life are guessed. There is an image of a gloomy monastery with stuffy cells, inhuman laws and an atmosphere where all natural aspirations are suppressed. Then Mtsyri tells what he saw "in the wild." The "wonderful world" he discovered contrasts sharply with the gloomy world of the monastery. The young man is so carried away by the memories of the living pictures he saw (and they lead him to thoughts about his native village) that he seems to forget about himself, says almost nothing about his feelings. About what pictures he remembers and what words he paints, his fiery, whole nature in his aspirations is revealed. Finally, in the following stanzas (starting from the 8th), Mtsyri tells about the external events of the three-day wandering, about everything that happened to him in freedom, and about everything that he felt and experienced during these days of free life. Now the sequence of events is not broken, we move step by step with the hero, vividly imagine the world around him and follow his every spiritual movement. The last two stanzas are Mtsyri's farewell to life and his testament. Unable to return to his homeland, Mtsyri is ready to die. But even before his death, he refuses to recognize the existence of a monastery. His last thoughts are about the motherland, freedom, life. Having briefly examined the composition of the poem, it is easy to show its justification and regularity. The peculiarity of the composition is not only in the displacement of the sequence of events, but in the fact that all of them are shown through the subjective perception of the hero. It is not the author who describes the experiences and feelings of Mtsyri, but the hero himself talks about them. The poem is dominated by a lyrical element, and the epic narrative included in the hero's monologue is focused on the individual, most intense moments of the action (a meeting with a Georgian woman, a fight with a leopard. It aims to deepen the impression of certain properties and features of the hero. In the poem, everywhere on the first place the hero, not the event.The character of the hero largely determines the plot.All these features of the composition are to one degree or another characteristic of a romantic poem. Courageous, brave, proud, inspired by one dream, Mtsyri does not seem to be a harsh person or a fanatic of his passion. With all the fieryness and strength of his dream, she is deeply humane, and the character of the young man is fanned not by severity or "savagery", as they wrote in pre-revolutionary methodological manuals, but by poetry. Poetic, first of all, is the hero's perception of the world as something infinitely beautiful, giving a person a feeling of happiness. Mtsyri is akin to the nature around him, he merges with it both when he admires the purity of the vault of heaven (“... I drowned in it with my eyes and soul”), and when he experiences a frenzy of struggle (as if I myself were born in a family of leopards and wolves ", says the young man). The feelings of delight and joy experienced by him are poetic. His attitude to the Georgian woman is poetic. This is a dreamy, vague premonition of love, giving rise to sweet melancholy and sadness. Mtsyri understands the uniqueness and charm of this feeling, it is no accident that he says: * Memories of those minutes * In me, let them die with me. Thus, Mtsyri is a powerful, fiery nature. The main thing in him is the passion and fiery pursuit of happiness, which is impossible for him without freedom and homeland, intolerance to life in captivity, fearlessness, courage, courage and courage. Mtsyri is poetic, youthfully gentle, pure and whole in his aspirations.

The plot of the poem "Mtsyri" (1839) was based on Lermontov's story about real events: in Georgia, in its former capital Mtskheta, the poet met an old monk who told a Russian officer the story of his life. The monk was the guardian of the deserted monastery (in Georgian, "monk" - beri, "novice" - mtsyri, although monks are sometimes called that way), he told Mikhail Lermontov that he himself was a highlander, as a child he was taken prisoner during the expedition , headed by General Yermolov. The general took him away with him, but the boy fell ill on the way and was left in the monastery. He grew up in this monastery, although for a long time he could not get used to monastic life, a foreign religion, a different language. Several times he tried to escape to the mountains, to his homeland, although he had a vague idea where it was. The result of one of these attempts, undertaken already in his youth, was a long illness that brought him to the brink of the grave. Having recovered, the young highlander finally reconciled himself, remained in the monastery and took the tonsure.
The story of the old monk shocked Lermontov, who longed for freedom both for an individual human being and for all peoples. That is why, in accordance with the ideological design, Lermontov resolved this life conflict in his poem differently.
The first link to the Caucasus gave Mikhail Lermontov a lot for his work, so it was here, especially in Tiflis, among Russian and Georgian friends, that he understood a lot from the national and domestic situation in the region and the way of life of the Caucasian peoples. Here he could hear from his new friends folk tales, legends, which then penetrated into his work. Lermontov knew, probably, the greatest work of not only Georgian, but also world literature - Shota Rustaveli's poem "The Knight in the Panther's Skin". Some researchers see its reflection in the central episode of Lermontov's "Mtsyri" - a fight with a leopard.
The image of Mtsyri is an artistic generalization, it is not for nothing that the protagonist of the poem does not even have his own name, since we remember that mtsyri means “novice”. In the main character - Mtsyri (the author makes a common noun) - inseparably merged a rebellious mighty force, strong as steel, will, despite the years spent in the monastery, and a thirst for freedom, heroic masculinity and sincerity, softness and tenderness. Indeed, we have before us an ideal hero, and a romantic hero at that. In this poem, the author and the hero seem to merge, although they are not identical to each other: for example, Mtsyri, who is distinguished by hyperbolic experiences, is endowed with signs of titanism - “he caught lightning with his hand”).

Mikhail Lermontov created an immortal poem, saturated with an indomitable thirst for freedom and the delight of struggle. Praise of "friendship short, but alive between a stormy heart and a thunderstorm", the relentless, imperious desire of a young novice to escape from the monastic captivity

In that wonderful world of worries and battles,
Where rocks hide in the clouds
Where people are free like eagles -

All this makes "Mtsyri" a true heroic hymn to freedom and human activity.
Mtsyri is united with the former heroes of Lermontov by a mighty fortitude. But in Mtsyri, unlike them, there is no shadow of any disappointment, doubt, pessimism. This is an integral, monolithic nature of a fighter and a rebel who knows "only one thought is power, one, but a fiery passion." At the same time, there is nothing pompous, stilted, sketchy in his image. His fearless, fiery nature is multifaceted and humane, lifelike.
M. Yu. Lermontov's poem "Mtsyri" is one of the greatest masterpieces of Russian poetry. The passionate power of a romantic dream is combined in the work with the truthfulness and simplicity of the artistic development of the theme, the formidable energy of the elements - with its subtlest musicality, the poetry and brilliance of Caucasian landscapes - with depth and truth in the depiction of the psychology of the protagonist.