By Irvin Ehrenpreis
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Extra resources for Acts of Implication: Suggestion and Covert Meaning in the Works of Dryden, Swift, Pope, and Austen (The Beckman Lectures, 1978)
The plasticity images possess, employed rhetorically, guarantees that Lermontov can achieve several ends simultaneously, but without being committed to them in ﬁnal terms. Through the “disease” image, the novel’s moral dimension can be secured, but without reducing the whole novelistic enterprise to it, without defaming Lermontov as preacher, and without making Pechorin a mere antihero. The novel is more multifaceted and open-ended than these reductionist ideas allow. We have observed how the discourse on ﬁction and reality emerges out of an examination of the temporal dimension of the novel.
An allusion to Bulgarin’s review of the seventh chapter of Eugene Onegin. Bulgarin, quoting the same lines as Belinsky, wrote: “These lines are very remarkable. Truth be told, this is a very pitiful idea of contemporary man – but what to do? ” (The Northern Bee  no. 35). 11. These two north-ﬂowing rivers run parallel to each other. 12. From Lermontov’s “Duma” (“Meditation,” 1838). 13. The hero of Schiller’s drama, “The Robbers” (1781). 14. Belinsky here quotes nearly word for word from Varnhagen von Ense’s article “A Foreigner’s Reaction to Pushkin” [“Otzyv inostrantsa o Pushkine,” in Katkov’s translation].
For these works, readers are referred to the bibliography. , John Garrard, Andrew Barratt and A. D. P. Briggs, Richard Peace, William Mills Todd, C. J. G. Turner, and Vladimir Golstein. The second chapter represents twentieth-century Russian and Soviet criticism of the novel. N. Kotlyarevsky’s book-length study of Lermontov (1909), as antiquated as it might appear to be today, is valuable for at least one reason. He was one of the ﬁrst to advance a cogent argument refuting the assumption that Lermontov was Pechorin.