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As it was, the author was as free as Shakespeare in his theatre to do both what his genius sensed and wanted and what the audience expected and required.
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Pechorin is one of the first, of any time, to be proffered in a genuinely throw-away spirit: his creator makes an aesthetic virtue, where the novel is concerned, out of the fact that we must be getting fed up with his hero, and he — or his narrators — are too.
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