Lermontov's novel is built as a collection of short stories, on behalf of the narrator, Maxim Maksimych, Pechorin and Kazbich (the episode with Karagez as an insert novella in the first story "Bela"). In all the stories, the narrators not only observe everything that happens, but also participate in the events, i.e. the speaker, the observer and the character are united in one person. From story to story, storytellers change, encountering either an unforeseen development of events, or something that has long been expected, but is not immediately realized. In the text of Lermontov's novel, these situations are connected with the use of adverbs suddenly and finally.

We will be interested in the first meanings of the words suddenly (unexpectedly, suddenly) and finally (after everything, finally). They form a peculiar pair. The use of adverbs is suddenly and finally connected with the speaker's perception of events. If it makes assumptions about what should happen, but it doesn't, then use nare-

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when the course of events changes abruptly and goes along an unforeseen channel, a synonym for the word suddenly - unexpectedly appears. The appearance of an adverb suddenly in speech also indicates the narrator's reaction to what is happening. The unexpected surprises you.

The use of the adverb finally is also associated with the fact that the narrator builds hypotheses about the development of events, but in this case his assumptions are justified with a delay in time. This is directly indicated by the interpretation in the Dictionary of V. I. Dahl - after a long wait.

For which of the characters do events develop in unexpected ways?

In the story "Bela" it is primarily Maxim Maksimych. The narrator's reaction to the story he heard from Maxim Maksimych as something unexpected, marked with the word suddenly, occurs only once: "In fact, I expected a tragic denouement, and suddenly so unexpectedly to deceive my hopes! ..." (Quoted in: Lermontov M. Yu. Sobr. soch.: In 4 vols. M-L., 1958-1959. Vol. 4. pp. 302-303; further-only p.). In this phrase, adverbs suddenly and unexpectedly stand side by side. Note that this is the only use in the novel of the synonym for the adverb suddenly - unexpectedly. In Bela, the number of adverbs is finally (13) greater than suddenly (6), which may indicate that, from Maxim Maksimych's point of view, everything that should happen is "late", but still happens.

Who and what behaves in an unexpected way, surprising Maxim Maksimych? This is primarily Kazbich: "I was making my way along the fence, and suddenly I heard voices... "(p. 289); "We began to chat about this and that: suddenly I looked, Kazbich started, changed his face - and went to the window..." (p. 296); " ... when suddenly Kazbich, like a cat, dived out from behind a bush... "(p. 303). Kazbich behaves unexpectedly for others, even if he is not available for direct observation: "Suddenly a shot is fired... We looked at each other: we were struck by the same suspicion..." (p.318).

As for Kazbich's inset novel about the horse, his perception is different from Maksim Maksimych's worldview. Unexpected for him were the deep pothole over which his Cartaz jumped, and the loyalty of the horse: "Suddenly, what do you think, Azamat? (...) I recognized the voice of my Karagez: it was him, my comrade!" (P. 290).

What is striking is the absence of the word suddenly in Maxim Maksimych's story about Pechorin's strange behavior.

The use of the adverb" Bela " at last (wait for the event or reaction of the interlocutor) also applies primarily to Maxim Maksimych. For the narrator, this adverb is connected with the opening of the book.-

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the road seemed to lead to the sky, because as far as the eye could see, it kept rising and finally disappeared in a cloud... "(p. 304); "Here, at last, we climbed Good Mountain..." (p.305). The journey is long not only for the narrator, but also for the drivers: "Your Honor," one of them finally said, " we won't get to Kobi today..." (p.309).

Otherwise, Maksim Maksimych's assumptions about the development of events relate to the behavior of people. Kazbich "pauses" in his actions and responses: "Azamat begged him in vain to agree, and wept, and flattered him, and swore; finally Kazbich impatiently interrupted him..." (p. 292). Here the paradoxical combination of two adverbs finally and impatiently, which can be interpreted as follows: the conversation is transmitted as heard, so finally refers to Azamat's long pleas (cried, flattered, swore), and impatiently - to Kazbich's reaction. Kazbich also "pauses" in his actions: "I see someone riding a gray horse out of the forest, getting closer and closer, and finally stopped on the other side of the river... "(p. 313); "And finally I recognized Kazbich..." (p.318-319).

The second character, whose reaction Maxim Maksimych has to wait for , is Bela. Conversation between Maxim Maksimych and the girl about Pechorin: "Did you leave today? She was silent, as if she was having trouble getting the words out. "No, just yesterday," she finally said, sighing heavily "(p. 311-312); "We went and walked up and down the ramparts in silence; finally she sat down on the turf, and I sat down beside her" (p. 313); "She looked at me in indecision, and for a long time she could not utter a word; finally she answered that she would die in the faith in which she was born " (p. 322).

The spiritual inexperience of Maxim Maksimych confuses him: he does not know how to behave with Bela: "Finally I told her: "If you want, let's go for a walk on the rampart, the weather is nice! "" (p.312).

And only once Maxim Maksimych expects an emotional reaction from Pechorin: "I would have died of grief in his place. Finally, he sat down on the ground, in the shade, and began to draw something with a stick in the sand "(pp. 323-324).

In the story "Maxim Maksimych" there are fewer surprises and a long wait for events, so suddenly and finally "they are in balance": one use each. This is the most "uneventful" story, in it there are three narrators of the novel. The only observer here is the narrator, and Maxim Maksimych's behavior is unexpected when it comes to Pechorin's notes: "Wait, wait! Maksim Maksimych suddenly shouted, clutching at the carriage doors... "(p. 335). Maksim Maksimych gets lost, colliding

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with Pechorin's indifference: "Yes," he said at last, trying to look indifferent, although a tear of annoyance occasionally glittered on his eyelashes "(p.336). From the narrator's point of view, Maksim Maksimych, trying to suppress his emotions, "belatedly" reacts to the meeting with Pechorin, as if searching for words.

Pechorin is depicted in the novel as a jaded and disillusioned person, and therefore, what can be unexpected and unexpected for him in life? Meanwhile, it is the "Diary of Pechorin", which represents the main character as an observer and participant in events, that gives a significant increase in the use of the adverb suddenly : in" Taman", the behavior of a blind man and a girl turns out to be unexpected for Pechorin. The blind man surprises the hero with strange emotional reactions and behavior: "For a long time I looked at him with involuntary regret, when suddenly a barely noticeable smile ran over his thin lips" (p. 342); "Suddenly a shadow flashed on the bright strip crossing the floor" (p. 343); " Suddenly my blind man began to cry, screamed, zaohal" (p. 347).

The girl impresses Pechorin with her impetuous movements, unpredictability of behavior. Pechorin first hears and feels her presence, and then understands who is causing his anxiety: "Suddenly something like a song struck my ear" (p. 347); " I was just finishing my second glass of tea when suddenly the door creaked, a light rustle of clothes and footsteps was heard behind me; I started And I turned around - it was her, my undine..." (p. 350-351); "Suddenly something fell noisily into the water: I grab my belt - I don't have a gun" (p. 352); " I want to push her away from me - she clutched my clothes like a cat, and suddenly a strong push barely reached me. he did not throw me into the sea" (p. 352); " Suddenly she ran past me, singing something else, and, snapping her fingers, ran in to the old woman (p. 348); "She suddenly jumped, sang and disappeared, like a bird scared out of a bush" (p. 350); "This bird is a bird that has been scared out of the bush" (p. 350). the comedy was beginning to bore me, and I was about to break the silence in the most prosaic way, that is, to offer her a glass of tea, when suddenly she jumped up, threw her arms around my neck, and a wet, fiery kiss sounded on my lips" (p.351).

The number of surprises for Pechorin in "Taman" significantly exceeds the number of "slow" reactions of people with whom the hero had to meet in this city. The blind boy, surprising Pechorin with his behavior, leads him into confusion: the hero cannot understand who is in front of him: "'Are you the master's son?' - I finally asked him " (p.342). The blind man also" belatedly "performs the actions that the author of the diary expects from him: "At last a boy of about fourteen crawled out of the hall" (p. 341); "At last he stopped, as if listening to something" (p.344). Another use case-

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the use of the adverb finally in the story" Taman " refers to a situation where a girl and a smuggler are waiting for the arrival of a blind man: "Where is the blind man?" Yanko finally said, raising his voice" (p. 354).

What is unexpected in the story "Princess Mary", and what happens "late"? Pechorin considers Grushnitsky banal and predictable. Nevertheless, Grushnitsky often behaves unexpectedly for Pechorin: "... suddenly I hear a familiar voice behind me (...) I turn around: Grushnitsky!" (P. 358); " Suddenly I hear rapid and uneven footsteps... That's right Grushnitsky... So it is!" (P. 386); " The grid! Grushnitsky shouted hurriedly, like a man who has suddenly been awakened by a friendly push" (p. 447); "Suddenly he lowered the muzzle of his pistol and, turning pale as a sheet, turned to his second" (p.448).

In relation to Princess Mary, the adverb is suddenly mentioned once: "We were already in the middle, in the very rapid, when she suddenly swayed on the saddle" (p. 422).

Pechorin is surprised by the death of his horse when he tries to catch up with Vera: "Everything would have been saved if my horse had had enough strength for another ten minutes! But suddenly, rising from a small ravine, at the exit from the mountains, on a sharp turn, it crashed to the ground " (p. 455).

The adverb finally occurs primarily in phrases describing the relationship between Pechorin and Vera: "At last our lips came together and merged into a hot, intoxicating kiss" (p. 380); "At last we parted" (p.382). When Pechorin receives a note about a date, his reaction is: "Ah-ha! - I thought - it finally came out my way " (p. 429).

Grushnitsky and Mary are often late in their behavior, but they justify Pechorin's predictions: "At last they approached the descent; Grushnitsky took the princess's horse by the rein..." (p.385).

Princess Mary, having become the object of Pechorin's cruel experiment, confirms his expectations with her answer to the question of whether all her fans are boring: "She looked at me intently, trying to remember something, then again blushed slightly and finally said decisively: everything!" (P. 393). Then, obeying his plan, Mary apparently says and does what Pechorin expects her to do: "Either you despise me, or you love me very much! she finally said in a voice that had tears in it!" (P. 422). Pechorin himself is fond of his own game: for example, while waiting for the Ligovskys to arrive, he writes: "Finally they arrived. I was sitting by the window when I heard the sound of their carriage: my heart gave a start..." (p.419).

Pechorin consistently implements his plan for Mary, seeking her favor, and for Grushnitsky,

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taking revenge on him as a lucky rival. Sometimes Pechorin himself, like a gambler, pauses, waiting for the other person's reaction: "During the evening I deliberately tried to interfere in their conversation several times, but she met my remarks rather dryly, and I finally left with feigned annoyance "(p. 398); " Did you love her? I finally asked her " (p.406).

The antagonist heroes Pechorin and Grushnitsky are equally impatient for the same event - the ball: "At last the Mazurka thundered with the choir; the princess and I sat down" (p. 392); " At last I will dance with her for the whole evening... I'll tell you enough! - he added" (p. 408). In the first case, with Mary at the ball - Pechorin, in the second-Grushnitsky dreams of a ball.

The adverb finally accompanies almost all stages of the implementation of the Pechorinsky plan. Gradually, other characters get involved in the main character's game: Grushnitsky tracks down Pechorin after a date: "We waited in the garden until two o'clock; at last-God knows where he came from, but not from the window, because it didn't open, but he must have gone out through the glass door behind the pillar-at last, I say, we see someone coming down from the balcony..." (P. 433).

The implementation of Pechorin's plan is complicated and seems to him already a game of life and death:"...what if his happiness is overstretched? if my star finally cheats on me?" (P. 437).

Waiting and holding a duel is also associated for Pechorin, Grushnitsky and their seconds with delaying the inevitable outcome. Werner: "Our negotiations lasted quite a long time; finally we decided the matter like this..." (p. 436). Pechorin: "It was finally dawn" (p. 439); " A difficult silence continued for several minutes; finally the doctor interrupted it, turning to Grushnitsky..." (p. 443); "Now he had to shoot into the air or become a murderer, or finally abandon his dastardly plan and be exposed to the same danger as me" (p. 443). 445).

The outcome of the duel for Pechorin is closely connected with the proof of moral superiority over the opponent, and Pechorin succeeds, although not immediately: "Grushnitsky stood with his head lowered on his chest, confused and gloomy. "Leave them alone! - he finally said to the captain " (p. 450).

"Taman" and" Princess Mary "are opposed to each other in the ratio of surprises and the fulfillment of events delayed in time: in "Taman" the ratio is suddenly and finally 10 to 4, and in "Princess Mary" -11 to 26. In" Taman " Pechorin becomes a toy in the hands of fate and smugglers, so suddenly numerically prevails over others, and in the story "Princess Mary" - on the contrary, Pechorin builds his own game, including the mother and daughter of Ligovsky, Grushnitsky, dragoon captain, Dr. Werner.

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In the last story of the novel, in "The Fatalist", the adverb suddenly occurs three times and finally the same number.

All the uses of the adverb are suddenly connected with Vulich: "Suddenly shots rang out, an alarm was sounded..." (p. 463); "This same man, who had so recently been aiming calmly at his forehead, now suddenly flushed and confused" (p. 467); " ... a drunken Cossack jumped on him... and, perhaps, I would have passed by without noticing him if Vulich hadn't suddenly stopped and said..." (p.471).

Two of the three uses are finally related to Pechorin.

The story "The Fatalist" is unique in this respect: adverbs suddenly and finally are so few in number with its plot saturation. But this is natural: if events are accomplished by the power of fate, then there can be no surprises or delays.

Just as it is no accident that in the second part of the novel, "Pechorin's Diary", the number of adverbs suddenly increases dramatically compared to the novels" Bela "and" Maxim Maksimych". Consequently, either Pechorin is not as disappointed as he wants to appear, or he has not fully understood the depth and inconsistency of his nature.

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