Finally, the different presentations of Pechorin, the main figure, are analyzed and evaluated to determine how the hero is and is not "Byronic." To ascertain exactly what the hero's Byronic features might be, I have used^P.J. The secondary figures, heroines, "pashas," villains and others are also assessed against Byronic tradition. The basic Byronic motifs of storms, poses and exotic settings are examined in each part with commentary on some Lermontovian variations on them. Each of the first five chapters is devoted to a scrutiny of the separate tales that make up A Hero of Our Time. This study presents the view that, while the novel is much more than a simple expression of Byronism, understanding the basic Byronic traits and Lermontov1s own modification of them is essential for a true comprehension of the novel. Although Mikhail Lermontov is commonly known as the "Russian Byron," up to this point no examination of the Byronic features of A Hero of Our Time, (Geroy nashego vremeni)3 has been made.
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