The poem by M. Yu. Lermontov "Mtsyri" refers to romantic works. To begin with, the main theme of the poem - personal freedom - is characteristic of the works of romantics. In addition, the hero, the novice of Mtsyri, is characterized by exceptional qualities - love of freedom, proud loneliness, an unusually strong feeling of love for the motherland.

The main part of the work is preceded by a small introductory part, in which the story of Mtsyri's life is briefly conveyed: as a boy, being a "son of the mountains", he was captured by the Russians, who sent him to a monastery. From that moment on, Mtsyri never went beyond its walls. But now, at a young age, he runs away from the monastery and spends three days at large.

The entire poem is a lyrical confession (a favorite technique of romantics) of the hero, who nevertheless returned to the monastery. The main idea of ​​this confession is as follows: "There will never be a trace to the homeland." Therefore, Mtsyri asks to bury him in the place of the monastery garden, from where the Caucasus is visible.

A love line is also outlined in the poem. When Mtsyri descends to a mountain stream to quench his thirst, he sees a beautiful young Georgian woman. Her "the darkness of her eyes was so deep, so full of the secrets of love that my ardent thoughts were confused ...". The girl disappears very soon, and Mtsyri falls asleep and sees her in a dream. He associates a beautiful Georgian woman with the image of her homeland.

Waking up, the hero continues on his way, he has to fight a leopard. In this unequal battle, due to the strength of his spirit, man wins. The description of the battle is also a purely romantic episode in the poem:

I was waiting. And now in the shadow of the night

He sensed the enemy, and howl

Lingering, pitiful, like a moan,

Suddenly resounded ...

Fighting with a leopard, Mtsyri himself becomes like a wild beast, unknown forces are revealed in him: "As if I myself were born In the family of leopards and wolves." Mtsyri's body is torn by the claws of a leopard, so he understands that he cannot get to his home and he is destined to die "in the prime of life, Barely glancing at God's light" and "take away the longing for the saint's homeland to the grave."

But this is only the external reason for Mtsyri's failure. The inner one is much deeper. Having lived all his life in a monastery, not knowing life and will, the hero is unable to exist in freedom: he himself unconsciously returns to the walls of the monastery, where he soon dies.

But, despite the tragic ending, Mtsyri is not spiritually broken, the approach of death does not weaken his spirit. Such an outcome only indicates that the circumstances were insurmountable, and he argued in vain with fate. And this is another sign of romanticism in the poem: a challenge to natural forces and fate, which ends with the death of the romantic hero.

The romanticism of the poem is also expressed in the depiction of the unity of man and nature. The whole action of the work unfolds against the background of Caucasian nature, lush and luxurious, which in itself is the personification of freedom for Mtsyri. Moreover, the author emphasizes the merging of his hero with nature: “Oh, I, as a brother, would be glad to embrace with the storm”, “I watched the clouds with my eyes”, “I caught the lightning with my hand”.

The blooming garden that Mtsyri saw on the first morning of his freedom made the hero feel the immensity of the world around him, its harmony and beauty. The storm that broke out on the night of the novice's escape, and the mountain stream near the wonderful garden - they all became Mtsyri's friends. Lermontov shows that nature gave the young man what the monks and monastery walls who raised him could not give. Only when he was free did Mtsyri feel unity with the whole world, only here he felt himself truly proud and free.

Although Mtsyri did not stay free for long, these three days became the strongest memory in his life. Before his death, the young man sees green hills, dark rocks, lush meadows and snow-covered mountains of his distant homeland. And among the memories of his father, of his weapons, of the stories of old people, of the songs of his sisters, Mtsyri also has a picture of how he played as a boy near a mountain stream:

A stream ran into the gorge,

He was noisy, but not deep;

To him, on the golden sand

I left to play at noon.

It is interesting that the river is spoken of here as a living person, a friend with whom you want to communicate and play. Only nature, unlike humans, will never offend, hurt, and limit your freedom.

Lermontov's work "Mtsyri" was written in 1839. It was based on a real story heard by Lermontov from a monk.

The main character - Mtsyri - lives in a monastery. He wants to escape from it. He wants freedom, to see the world. The monastery in this work is the image of bondage, "prison", and nature is the image of freedom. When Mtsyri runs away, a storm is raging, dark clouds swirl, lightning flashes, there is not a single star in the sky, not even a moon: "I was glad to embrace with the storm! / I watched the clouds with my eyes / I caught the lightning with my hand ... /.

"Then the thunderstorm subsides, the night passes quickly and a beautiful morning comes. Nature reflects Mtsyri's feelings. Even the storm and night do not scare him, he is happy to wake up free. But he is still" gnawed "by fears," gnawed "by doubts," tormented "by questions , such as "What if a chase?" "What will happen if they find me?", etc. But doubts quickly leave him. This is reflected in the time of day - a beautiful dawn is coming. The protagonist realizes that his long-awaited escape was a success , he is finally free that he has longed to receive.

Mtsyri ends up in God's garden. There are many beautiful plants and birds singing with wonderful voices. Nature reflects the happiness and freedom that a fugitive experiences. The author conveys this using various epithets in his poem: "rainbow outfit of plants", "curls of vines", "transparent green leaves", "magic voices", "solemn praise of the hour".

Then Mtsyri leaves the Garden of God and hears a song sung by a Georgian woman. He falls asleep, lulled by her voice. He dreams of her. Her image evokes Mtsyri's thoughts and memories of her home. When Mtsyri wakes up again, night has already come, the full moon is in the sky, illuminating everything with its light. In the distance, he sees the Caucasus Mountains and decides to go to them. He decides to walk through a dense and dark forest, but unfortunately he got lost in it. The night and the dark forest personify the doubts that torment the protagonist, his hidden fears and frightening thoughts. "And I woke up / The moon was already shining. / I lost sight of the mountains / And then I began to stray from the path /."

Mtsyri found himself in a forest glade, where a leopard later noticed him. Glade is the arena of the protagonist's fight with the leopard. The world seemed to freeze, watching their struggle for life. Leopard is a nocturnal predator, an image of the most secret and terrible fear. But Mtsyri defeated the leopard, defeated his fear.

Mtsyri came out of the forest and saw fog. It seems to him that he hears voices coming from the aul, but he disappears and a monastery appears in its place, carrying the ringing of bells. Mtsyri was flooded with disappointment that he again returned to his "prison", that he would never be able to visit his native land, to see his family.

Further, the mtsyri tells the elder about the flower with which he personifies himself and his life. The main character becomes ill, he is tormented by thirst, he sees mirages and loses consciousness. In this state, the monks find him and take him to the monastery.

Before dying, he asks the elder to bury him not within the walls of the monastery, but at large. In the garden, where wonderful white acacias bloom, there is a soft bright green grass, fresh and clean air, from where you can see the high Caucasus mountains.

Nature plays an important role in Lermontov's poem "Mtsyri". It is through her and her changes that the author conveys inner feelings, fears, experiences, hopes and dreams of the main character Mtsyri.

Not only in the words and thoughts of the hero, but in the whole poem, one can feel the pathos of freedom and human activity. In the special, "elastic" and nervous music of the verses of Lermontov's poem, in its sublimely exotic landscapes, in the high and sharp contrasts of nature, in the peculiar masculinity of pictures and words, no less than in direct confessions of the hero, one can feel the poetry of a free and active life - full and beautiful life.

The romantic poem shattered the stereotype of the ideal landscape, replacing it with many specific types of landscapes. Moreover, she combined them with the ethnographic image of a given people into a general type of worldview, an environment introduced into the poem as one of the participants in situation 2.

Mtsyri wholeheartedly responds to the splendor of nature. This is explained by the fact that Mtsyri, as S. Lominadze noted, "sees in" images of nature "a reflection of his own fate: direct, or, more often, contrasting. Trees" rustle with a fresh crowd "like" brothers "about whom his lonely soul languishes , "the rocks are eager to meet every moment", "but they never get along" - the same thing that happens to Mtsyri and from which he suffers so much. ", he is worried that no one could say" the sacred words of a father and mother. " seemed to be rooted to the rock as a "friendly couple" 1.

In these sketches - a projection of the restless inner world of the hero. The story about the life of nature is an important part of his confession, at the same time, in the "" metaphors-miniatures that arose from landscape impressions, the same structure of the soul appears as in the extensive fragment, where this soul is directly engaged in self-disclosure. "2 Pictures of nature were created with positions of romantic psychologism: they reflect the inner world of the hero, have a purely subjective coloring.

Mtsyri is directed towards the ambiguous speaking world. He wants to “dissolve” in nature and gets pleasure from closeness with her: “And it was easy for my heart / It was easy, I don’t know why ...” It is the pictures of nature that evoke memories of Mtsyri’s homeland: “And I remembered my father’s house, / Our gorge and around / In the shadows a scattered aul ... "

Nature awakens in the hero the experiences he is not fully aware of and, at the same time, symbolically expressed in the poem the thirst for the ideal, harmoniously combining the "earthly" and "heavenly. Mtsyri is available" heavenly-earthly homeland ", a house under the firmament.

Let's pay attention to Lermontov's artistic technique in the transfer of landscape sketches. In "Mtsyri" nature is described "from the inside", which emphasizes that the hero is a part of it and is, as it were, related to it.

Mtsyri fearlessly goes to meet nature: "But fear did not grip my soul: / I myself, like a beast, .. / And crawled and hid like a snake."

In Mtsyri, nature gives rise to primitive animal power - a feature that was noted by Lermontov's contemporaries.

In the images of kinship and unity, the leading role is played by those that convey closeness and kinship with the elements, with animals: "Like a brother ... with a storm," "like a snake," "like a desert leopard," etc. The desire to restore natural connections sometimes reaches the strength of the animal instinct. This is noted in the response of Apollo Grigoriev: "... a force, partly brutal, and which itself, in the person of Mtsyri, rejoices in brotherhood with leopards and wolves" 1. The opposite tendency in the poem is also interesting: the animals are “humanized”: the jackal “cried and cried like a child”, and the leopard “groaned like a man”; the leopard dies, "as a soldier follows in battle ..." It seems that the animals also rejoice in brotherhood with man, and the wall separating all living is eroded on both sides.

Mtsyri seeks to find peace in "peace" and "storm". However, the result turns out to be unexpected: "I myself, like a beast, was alien to people" - these are his feelings after friendship with the "storm" on the night of his escape.

Lominadze wrote that against the background of the "embrace" of nature, the measure of Mtsyri's loneliness is more deeply comprehended. "Perhaps it is so hopeless that the soul is ready to break through his ring in any way." with nature, even through a connection with a hostile beginning. During the battle, the Mtsyri and the leopard "intertwine", "hug" "stronger than two friends." creatures: Mtsyri "squealed like a leopard", and the wounded leopard "groaned like a man." And among the images of nature contemplated by the hero, there is an identification of "friendship - enmity." and one / Only a cloud crept after her, / As for her prey. "Thus, for Mtsyri, forcibly torn away from his native soil, contact with nature is an opportunity to find a family, a homeland, to return to the original sources.

Alien to the world of people around him, Mtsyri, despite all the strength of his desire to merge with his native world of nature, remains alien to him: imperceptibly changing its appearance, nature turns from friend to enemy. Subtle overflows of meaning (what should be good turns into evil) are characteristic of the entire situation of the poem and the images of the external world surrounding Mtsyri.

As often happened in a romantic poem, the decisive step - leaving the monastery - is taken by Mtsyri in a storm:
... at the hour of the night, a terrible hour,

When the thunderstorm frightened you

When, crowding at the altar,

You were lying on the ground,

I ran. Oh i'm like a brother

Would be glad to hug with the storm!

With the eyes of the clouds I followed

I caught it with the hand of lightning ...

Tell me what among these walls

Could you give me in return

That friendship is short, but alive,

Between a stormy heart and a thunderstorm? ..
The multi-speaking parallelism of the storm and the experiences of the central character seems to have been brought here to the utmost expression. Not only does the “terrible hour” put an impassable line between Mtsyri and other people, that only one storm can become the equivalent of the movements of his soul.

Before us is an almost ecstatic fraternization of a man with an angry element, and in the illumination of lightning the puny figure of a boy grows almost to the gigantic proportions of Goliath. Regarding this scene, Belinsky wrote: "... you see what a fiery soul, what a mighty spirit, what a gigantic nature this Mtsyri has!" 1 .

The development and deepening of the idea of ​​"natural man" (V. I. Korovin) is justly noted in the poem "Mtsyri". At the same time, it is indicated that this topic is complicated by a tragic attitude and the idea of ​​the unattainability of harmony with nature. Here it is appropriate to recall the remark of Ya. I. Markovich that the romantic ideal of Lermontov, despite its "variations", always presupposes "the impossible", "the combination of storm and rest" 2.

Images of peace and protection develop after describing the boy's life in the monastery. This is the mention of a pigeon finding shelter from a thunderstorm in the "deep well" of the monastery wall (5th jastropha).

But the true culmination of the theme of peace and protection, reaching up to a serene sleep, blissful nirvana, is the song of a green-eyed fish, Here the "protective forces" are so friendly, healing, affectionate that their patronage tends to become lightweight and imperceptible either physically or in time:
Sleep, your bed is soft

Your veil is transparent.

Years will pass, centuries pass

A conspiracy of wonderful dreams.
Actually, this is already protection that has passed into mortification, and peace - into nothingness. Mtsyri envelop the wonderful sounds of a creature akin to the mermaid seductress. Meanwhile, in the very transformation of protection and patronage into violence, in the ease and inevitability of the transition from one to the other - the dialectical combination of the meanings of the poem. Because in relation to the “fiery passion” of Mtsyri, to his striving for his native element, everything is violence and a prison, including the kind, saving monastery. Evil here exists in goodness itself, in protection, in salvation, since they threaten with enslavement of the will and non-fulfillment of desire. Prison here is carried out outside of any harsh manifestations of oppression, evil and insult - only one submission to the established order of things.

A subtle confrontation of meanings takes place in all spheres of Mtsyri's worldview - in relation to people, to nature, even to himself.

Along with the feeling of annoyance at people, at nature, irritation against one's own physical impotence grows in Mtsyri 1. Therefore, at the end of the poem, the meaning of the image of a prison expands in a seemingly unexpected direction. Mtsyri speaks of the "flame" burning in his chest from his youthful days:
But now there is no food for him,

And he burned his prison

And will return again to that

Who to all the lawful succession

Gives suffering and peace ...
Here, as a “prison”, it is no longer a “friendly monastery”, not something external to Mtsyri, but a part of him, a corporeal shell, which turned out to be hostile to his high spiritual impulse, is perceived. Over the people around, over nature, over their own bodily impotence, rises, remaining unchanged, only one thing - the "fiery passion" of Mtsyri.

On the one hand, the poem does not provide a solution to the romantic conflict. Mtsyri's "goal" has not been achieved. Moreover, we learn about the outcome of the poem, about the defeat of Mtsyri from the very beginning. Unlike "Chernets" (also built on confession), where the opening stanzas give only a number of allusions to the experience of the central character, Lermontov's poem already in the second stanza tells us almost "everything" about Mtsyri - both that he ran away, and that, that his escape had ended in failure. From the point of view of this failure, the “outcome” of the conflict - the negative “outcome” - we look at everything that happens. “Three days” by Mtsyri is a dramatic analogue of his whole life, if it had flowed in freedom, sad and sad and by its distance from it (after all, this is not life itself, it is only an aspiration, an approach to it) and the inevitability of defeat. We have the right to say (paraphrasing Pisarev's thought about Bazarov) that, unable to show how Mtsyri lived in a free land, the poem told us how he could not reach him and how he dies.

On the other hand, we learn (from the very first stanza) not only about the defeat of Mtsyri, but also about the fact that the whole way of life, from which he fled, the whole "monastery", this by monks, novices, routine - all this has long since departed into oblivion. Only the ruins, gravestones and the old man forgotten by death - "the half-dead guardian of the ruins" - remind of the past. And we look at everything that happens in the poem from the point of view of this eternal changeability and transience, this all-consuming abyss of death and destruction. Here again occurs (which we have already observed more than once in the works of Russian romanticism) the switching of the private and the individual to the level of the universal and universal. This switch carries both a conciliatory moment and, at the same time, is sharply hostile to it. It is conciliatory, since individual destiny is compared with something more significant and wider - with Eternity, in which everything private sinks like grains of sand in a whirlpool of being. But it is by no means conciliatory, since all the anxieties and sufferings of private fate remain unresolved, its impulse for freedom is unsatisfied, and the disappearance of a person is a disappearance without a trace! - from the face of the earth is reflected in our minds with an implacable and painful dissonance.

Conclusion
The well-known modern researcher of Lermontov's poetry D. E. Maksimov wrote: “Lermontov is the largest representative of Russian and world romanticism, and his greatness is connected not only with the fact that his work of the mature period was developing towards realism, but also with the fact that he he was a romantic and, within certain limits, remained so until the end ”1 1.

Romantic pathos largely determined the direction of all Lermontov's poetry, while its literary sources were far from homogeneous. In the works of Lermontov there are echoes of the works of Ryleev and Russian poets of the philosophical-romantic trend; in the work of Lermontov, a strong influence of the romantic works of Pushkin and the romantic poetry of Byron is noticeable. Young Lermontov looked like many, but even in his youth he was most like himself. His connections with a variety of romantic literary traditions did not at all interfere with the sharp definition and individuality of his poetic quest. In Russian literature, Lermontov is one of those poets who more than others were distinguished by "faces not in general expression": distinguished by the characteristic of poetic handwriting, the uniqueness of the poetic voice.

The poem "Mtsyri" is one of the most amazing poetic creations of Lermontov. In Russian and world art, it is not often found works in which the will for freedom, the dream of a homeland, the glorification of earthly life and struggle - "the world is infinite delight" - would be brought to such a sharpness, to such a powerful tension, as in this poem.

The poem "Mtsyri" is a poem of not just a positive, but an ideal hero. At the same time, it is one of the summit creations of Lermontov's genius. The poem is very organic for Lermontov. Like many of his other works, it affirms a person's high vocation in life, his right to dignity, pride, and freedom.
List of used literature

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   Ginzburg L. Lermontov's creative way. L., 1940.
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A colossal and indescribably great importance in the concept and awareness of the image of a lonely, sad, but at the same time free and unshakable Mtsyri plays the romantic and gentle landscape described in this work. Each reader is not only imbued with the work itself, but also with the nature that is described by the author in this work. Nature itself and the entire landscape are clearly one of the most important and deep compositional elements of artistic writing in a work.

Of course, by itself, as a separate element, it does not generally carry any value. But it is worth noting that a landscape can also almost never be just an objectively realistic reflection of nature. And even more so in this work, which the author tried to make romantic, gentle, symbolic and multifaceted.

The author of this work does everything possible to reflect in this picture how nature and man are continuously interconnected, because in fact they simply cannot live separately, and indeed exist in general too.

In other words, in essence, for a person, nature is the romantic reflection of his soul, and the natural elements are a direct reflection of his actions, and so on.

"Mtsyri" can certainly be attributed to a typical romantic work of writers of the past, because each of them tried to bring something of their own unique and unique in their works, fill them with romance that would reflect the soul of the writer himself, and his views on this subject.

Also, the great Russian writer Lermontov, who actually belongs to this work, tried to display this invisible line between romantic nature and not at all romantic actions and tricks of people who were destined to become the heroes of this work.

Each reader will be able to find in this work something for himself, something very personal and important.

The role of landscape in the poem by Mtsyri Lermontov

Produced was written in 1839 and is considered one of the finest examples of romantic poems in Russia. It includes all the important examples of romanticism, as a unique character in interesting conditions, the dissonance that happened due to the fact that two worlds collided - the ideal and the real, and one cannot exclude the landscape itself. After all, he is very significant here, as he helps to understand Mtsyri, what he thinks about, what he wants to get in his life. But it also helps to show how decisive the hero is in his actions.

All events take place in the Caucasus, not far from the mountain range. The monastery where the young man lives is located near two rivers. It should be noted that Mikhail Yuryevich Lermontov describes a real functioning monastery, it operates to this day. This landscape greatly affected the poet himself. After all, initially, he did not know where to place the main character. Mikhail Yurievich Lermontov created two small poems, but only after visiting the Caucasus, he managed to start working on this work. After all, the very word Caucasus already personifies freedom of free thought, since everyone who violated the laws was sent there (the poet himself turned out to be in a similar way).

The landscape can be viewed in this work from two sides: how the poet sees and how the hero himself sees. Both points of view are sometimes combined, and from Mtsyri we can hear very vivid, impressive characteristics of the surrounding world. And at such a moment, it seems that the author himself says for his character, that he himself shares his experiences and troubles, we wish to become free.

Initially, the landscape is described as dejected and depressed - life in a monastery. Talking about this, there is a counterbalance with the following representation of the revived environment, succinctly and succinctly, the poet immediately goes to describe the situation of freedom and bondage. It should also be pointed out that nowhere is there an accurate description of how bad it was for the hero in captivity.

We can think of this ourselves, from a vivid story about what Mtsyri saw during these three days of his freedom. A warm sun, a slight weak breeze, blossoming nature and cooing birds - this is what the young man was deprived of, locked in four walls. Similarly, we see the problem of freedom and confinement, a problem in the fate of a young man. And thanks to the newfound freedom, memories of his family come to him. A hazy memory that the monastery took, but after a while everything is restored and he begins to believe to be in his native land.

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The poem "Mtsyri" was written in 1839, shortly before Lermontov's death. This is one of his last works, a kind of result of the entire creative path. The poem embodied the late, mature Lermontov romanticism - the direction that, to one degree or another, the poet followed all his life. All the ideas of the poet's later lyrics were reflected in this work. By the end of his life, the theme of loneliness became the leading theme in Lermontov's work. But, in comparison with the early lyrics, now the loneliness of the lyric hero is perceived as his freedom, that is, he considered the principle of romantic dualism in a new way (the traditional principle of romantics, built on the difference for the poet of the world "here" and the world "there", the opposition ideal and real). Thus, the poet came to a new perception of the relationship between the hero and the outside world. The romantic landscape is of great importance in revealing the image of the lonely, suffering and free Mtsyri. In general, it is one of the most meaningful compositional components of a work of art. It does not carry an independent value, it is almost never just an objectively real image of nature, especially in a romantic work, where it is sharply subjective, symbolic and obeys the principle of psychological parallelism - that is, assimilating the inner state of a person to living nature. In other words, for romantics, nature is a peculiar way of seeing and portraying the world. "Mtsyri" is a typical romantic poem. It is built on the idea of ​​a double world and contrast. A distinctive feature of Lermontov the romantic lies precisely in the fact that many different conflicts can be found in his poems. One of the main ones is the contrast between the world of the monastery, a prison for Mtsyri, and the world of nature, the embodiment of freedom, which Lermontov often resorted to in his early lyrics. The conflict between the two opposing worlds of the monastery contrasts sharply with the vivid description of the forest, river, storm and leopard. Throughout the entire poem, the landscape is the background of the action, which not only adds color to the flaring confrontation, but also helps to understand the nature of the conflict. The landscape of the world, which is located outside the walls of the monastery, mainly forms the image of Mtsyri himself. The hero is identified with nature; by depicting its various states, the poet artistically conveys various states of the youth's soul - from a storm that can destroy everything in its path, to a quiet dawn, striking in its harmony. Lermontov's nature is a living being. Human suffering is no stranger to him; with the help of a landscape, the author manages to describe the inner world of the hero with unusually accurate accuracy. From extremely scanty sketches of the landscape of the monastery, Lermontov proceeds to the embodiment of freedom - the nature of the forest, he describes an extraordinary, demonic riot of sounds and colors. One of the culminating moments of the poem is the meeting of the hero with a leopard. In it, the author shows the complete unity of Mtsyri with nature. The description of the battle is in perfect harmony with the landscape, the world seems to be frozen under the moon, watching the battle; a fairy glade in the forest is an arena for a battle between a romantic hero and an animal, the embodiment of nature itself. In the scene of the fight with the leopard, along with the antithesis, the technique of impersonation is used. The author deviated from the description of the general image of nature. He endows the leopard, the moon and the forest with human qualities. This organically complements the classic romantic landscape. There is a kind of tension in the air that cannot leave the reader indifferent. In this scene, all the riot of nature, described during the escape of Mtsyri, is now reflected in the soul of the reader; by this the author emphasizes the importance of the episode. But other descriptions are no less interesting. At the very beginning of the poem, through the mouth of Mtsyri, the author makes unusually accurate sketches of the landscapes, which the unfortunate young man managed to enjoy during his three short days in the wild. And here the method of personification is widely used: trees, embracing like brothers, dance a circular dance, two cliffs above the river dream of uniting with each other, their desire is so clear to the former recluse: they, too, yearn for freedom, as he longed, languishing in his prison, to unite with nature. Here the thought arises that Mtsyri's dream will also not come true to the end. The sight of the mountain landscape reminded the fugitive of his childhood, his native village. And now a vision is before my eyes - moonlit evenings, a shine of weapons, a father on horseback. He recalls the sounds of his sisters' songs and speeches, and the stories of old people. One of the most vivid and important images is the image of a mountain stream: ... Although without words, I could understand that conversation, An incessant murmur, an eternal dispute With a stubborn heap of stones. Mtsyri understands the flow, because it is his soul; also strengthened by the thunderstorm, she rose up and broke the old channel. But arguing with heavy stones is useless, the hero laments. With the abundance of various images and combinations of landscapes, Lermontov achieves full disclosure of the image of the protagonist. As in any romantic work, in this poem the landscapes form the image of the hero, forcing him to play with all possible shades of feelings. In general, we can say that the landscape in "Mtsyri" is a typical example of a romantic landscape, with all its functions, features and characteristics, which undoubtedly testifies to the purity of the style of the work.