True love in the works of Russian literature. The theme of love in literature

The theme of love in Russian literature

Like all other literatures of the world, Russian literature devotes considerable space to the theme of love; its "specific", let's say, weight is no less than in French or English literature(Although " love stories" V pure form in Russian literature are not so common, more often the love plot is burdened with side lines and themes). However, the implementation of this theme in various texts belonging to the Russian classical literature, is distinguished by its great originality, which sharply distinguishes it from all other literatures of the world. Let's take a look at what exactly this uniqueness is.

First of all, Russian literature is characterized by a serious and close look at love and, more broadly, intimate relationships between a man and a woman. The motto of such an attitude can be famous proverb"Love is no joke." Russian satire little and reluctantly intrudes into the realm of the personal. Chichikov's momentary love for a thin and transparent college girl, who turned out to be the governor's daughter, has as little to do with the love theme as the "suffering" of the widowed lady from Chekhov's early story "The Mysterious Nature", who once left her beloved for the sake of a rich general and now does not have the strength to give up another wealthy general in the name of his feelings.

There is only one reason for such seriousness: love in Russian literature almost always belongs to the realm of dramatic and very often tragic pathos, but very rarely the history of the relationship between a man and a woman - whether in prose or poetry - gives a reason for fun. The "happy ending", beloved by Dickens and sometimes even tolerated by Balzac, is not only absent from Russian literature, it is as alien to it as Chopin's waltzes and South Chinese folk music. All the famous love stories of Russian classics, from " Poor Lisa"Karamzin to Bunin's Dark Alleys are very tense and end very badly. "Happy ending" in this context can be considered the finale of "Eugene Onegin" - Tatyana, being faithful wife another, will forever love a person unworthy of her, Onegin will forever be lonely, but at least they remained alive.

Can we assume that such a gloomy color love theme in Russian literature were influenced by some more general patterns, for example, some kind of special anguish and tragedy inherent in it? Such a statement of the question seems to be controversial. Berdyaev once called Russian literature "prophetic", and this is true, but it can hardly be reproached (like all Russian culture as a whole) with hopeless gloominess. (For doubters, we recommend comparing "Songs Western Slavs"with Russian folklore, recorded by the same Alexander Sergeevich). Of course, the implementation of this topic is in contact with the general spiritual dominant and philosophical paradigm of Russian literature, but this happens in a slightly different way.

The tragedy in the development of love themes stems from several sources, the most ancient and full-flowing of which is, of course, folk tradition. Only in Russian folklore are love ditties called "suffering", only in the Russian village the synonym for the word "love" was the word "pity". Notice that the emphasis is on the sad, painful side of the relationship between a man and a woman, and not sexual desire is elevated to the head of the relationship (which does not mean, of course, that there is no special subculture in the same folklore that describes the "shameful" - fairy tales, ditties, etc. .), but the spiritual principle is pity. Let's listen to the meaning of the word "spouses": these are not legalized lovers, these are "companions", pulling a common cart in one harness. Here, the popular, perhaps still pagan, understanding of marriage and love echoes the Christian, Orthodox understanding of marriage as a test of the strength of spiritual and physical strength man, hard work in the name of a higher goal. From the pagan past came wedding ceremonies in the Russian North: in the Arkhangelsk villages, a bride, magnificently dressed up at a wedding feast, walked down the aisle in the same “bruise”, a simple blue sundress, in which they put in a coffin. Thus, marriage was on the same level as birth and death. (Note in brackets that it is interesting to compare this custom with Tolstoy's idea that one must marry like dying, only when it is impossible otherwise.)

Ancient customs and realities of later times find powerful nourishment in the peculiarities of medieval Russian culture. One should not overestimate the depth of Peter's transformations precisely in the field of intimate, personal life of a person. Thousand-year foundations cannot be changed along with the dress. Medieval Russian (and not only Russian) culture is characterized by a certain dualism, the division of man into sinful flesh and a spirit striving for grief. In Europe, this dualism was overcome by the birth of a full-blooded man of the Renaissance, the hero of Rabelais and Boccaccio. The opposition between corporeal and carnal, base and high is removed. New person wholesome and cheerful, he calmly looks at the desires of the flesh, considering them natural, and sees no great sin in satisfying these desires.

There was no Renaissance in Russian culture.

The medieval opposition of flesh and spirit survived the reforms of Peter the Great and the radical experiments of the positivist-nihilists of the 19th century, survived into the 20th century, and still feels good today. If in doubt, read the newspapers: from time to time they publish letters from women who are offended by advertisements for pads on television ( mass consciousness based on stereotypes, the invasion of "forbidden", "grassroots" themes into "high", "cultural" spheres is shocking).

So the flesh is opposed to the spirit. The flesh is sinful, it must be humbled, its rebellion is fraught with fatal consequences. What underlies the fall of the Russian Faust of the 17th century, Savva Grudtsyn? Not a thirst for knowledge and not pride, like Dr. Agrippa of Nestheim, no, he is destroyed by carnal passion for someone else's wife. "And, captured by the deceptive caress of that woman, and truly to say - by the envy of the devil, Savva fell into the network of adultery with this woman." In exchange for her favor, he sells his soul.

The only permitted way to realize sinful thoughts is marriage, but the attitude towards it is strict. It is interesting to contrast the self-perception of contemporaries, Henry VIII in England and Ivan the Terrible in Russia, married 6-7 times. Ivan the Terrible, who personally strangled his illegitimate children (he believed that they were not pleasing to the Lord), during periods of repentance feels like a terrible sinner. He writes in an appeal to the monks of the Kirillo-Belozersky Monastery: “And for me, a stinking dog, who should I teach and what should I punish, what should I enlighten? hatred, in every villainy." Contemporaries never noted similar moods in Henry VIII. A perceptible fall is possible only from a high point, and this high point there was a traditional attitude towards love and marriage.

In it, the tops and bottoms are inseparable, at least until the Petrine era; in Russian folklore, unlike French or ancient Indian, there is no image of a woman-lover. His heroine is either an unmarried, innocent girl, or a wife, or a widow, premarital relations - the relationship of the bride and groom. And, of course, in a world split into darkness and light, into holiness and sin, it is impossible and unimaginable to have a "lightened" attitude towards the sexual side of life. Everything that happens outside the marital bed is not defined as a passion and not as a natural need. There is only one word for him - fornication.

This medieval dualism is most fully and vividly embodied, of course, in Katerina from The Thunderstorm. It was not a protest against society, as it seemed to the boy critics, that drove her to a steep cliff above the Volga. For Katerina, there is no justification for her sinful passion, because such justification does not exist within the framework of traditional, patriarchal-medieval ethics. She can either fall further, lower and lower (that's why she asks Boris to take her away, that's why she is ready to live with him in an illegal relationship - there is no turning back anyway!), Or to atone terrible sin- a long repentance (maybe lifelong) or death, which is what happens. For a "fallen" woman or girl in a patriarchal society there is no legitimate role, just as there is no something in between the sublime and pure love and fornication.

There is no "something in between" in all Russian literature. Relations between lovers - the heroes of Russian classics - are either heated to such a level of purity and height, which for the third century continues to amaze other ecumene, or this is vile debauchery, or both (which is especially characteristic of Dostoevsky's heroes). But it is very difficult, living on Earth in real world, to preserve the transcendent holiness of feelings, and that is why every second Russian "love story" is a tragedy. Someone will die, someone will go crazy, someone will go to hard labor, and many will part forever.

The timid dreamer Piskarev will cut his own throat, discovering in his ideal of beauty an ordinary prostitute; go to hard labor Lady Macbeth Mtsensk district and there, to atone for a long-standing sin, Nekhlyudov will go for Katyusha Maslova. Rogozhin will kill Nastasya Filippovna, Karandyshev the dowry Larisa, Kazbich will shoot poor Bela, and Aleko will end the life of freedom-loving Zemfira with his own hand. In the monastery Lavretsky will meet Liza, die in the arms of Elena Insarov, under the wheels of the train the candle of Anna Karenina's life will go out. Those who wish can add to the list - whether Nina, poisoned by Arbenin, or Khromonozhka, who went crazy with love for Stavrogin, or the glorious Cossack Andriy, ruined by love for a beautiful Polish woman, or other heroes to your liking.

Reading the pages that tell about "those who died from unprecedented love" (Vysotsky), you will inevitably be surprised at the largely deliberate confusion of feelings and the complexity of collisions. The question arises: is it really impossible to be simpler, is it really impossible not to twist the knots to the extreme? But the anguish is just as obligatory for the love stories of the heroes of the classics as the opposition of "high" and "low". It's not that they can't help but suffer, they just want to suffer (remember "suffering"?).

This is exhaustively formulated by Natasha from "The Humiliated and Insulted" "But what can I do if even suffering from him is happiness for me? Do I go to him for joy?" And here it is no longer clear where suffering is and where happiness is, and whether they can be separated. Suffering is inalienable, and perhaps even main part love. Do not rush to pronounce the word "masochism". Suffering is closely related to the concept of the sinfulness of carnal love. Having suffered, such a sinful lover is cleansed by this very suffering, and his love becomes pure. This is shown very well in "War and Peace": inflamed with a physical attraction to Anatole Kuragin, Natasha pays for it with illness and months of suffering, but a more correct love for Pierre almost does not bear suffering. But, of course, the tragedy is not necessarily inherent in the relationship, it can also come from outside, for example, the heroine suffers not from the fact that she loves “wrongly” and wants to suffer, but from the fact that her beloved, say, died in the war. But this situation happens much less often.

In suffering, torment and self-torment (“There is no one to scold me - there is no dear ...”) there is almost no time left for happiness. But the formula of Russian love does not contain such an element. Here we see a truly unique relationship to happiness:

But how could I help?

I do not heal from happiness.

Happiness is not a desired state of mind and body, but a shameful disease of the deaf and well-fed. "How long shall we suffer?" asks Avvakum's wife, and Archpriest's answer "Until death" immediately gives her courage, just like Mandelstam's answer to his wife Nadezhda in a similar situation: "Why do you think you should be happy?" Indeed, does happiness have intrinsic value? With regard to personal life - obviously not, because there is nothing more nauseating than family, say, the only "correct" personal happiness in Russian novels. And is there a lot of it? The marriage of Mr. Bykov to Varenka Dobroselova, which does not bring her much joy, Natasha with an eternal filthy diaper (a striking argument of modern feminists) and Olga, carefully trained by Stolz. Well, Pushkin, as always, tries to bring some sun into the cold atmosphere and gives us an amazing mockery of stereotypes - the finale of "The Stationmaster"; but only one Pushkin. In all others, we see not family happiness, but different types misfortune, or it doesn’t even come to marriage at all. It's curious that great literature with an extremely low marriage and birth rate was created in an era and in a country where the norm was 8-9 children for the common people and 3-4 for aristocrats!

The unwillingness to be happy and the fundamental tragedy of love stories cannot be explained only by the medieval ethical paradigm or the influence of Russian folklore. tragic theme love in Russian classics is inextricably linked with its general tendencies, such as the painful search for harmony in the world of chaos, the thirst for faith and the pursuit of unattainable ideals in all areas of spiritual and physical existence. "Couldn't the ideals be more dedicated?" exclaims Dostoevsky. If there is an ideal of love, then it is love as the highest embodiment of perfect harmony, as the apotheosis of faith (“God is love”) and a synonym for ideal being (“Only a lover has the right to be called a man”). But the question whether the triumph of harmony in the macrocosm torn apart by contradictions is possible is as rhetorical as the question whether the final victory of good over evil is possible. The world of Russian literature is a tragic world, a world of eternal questions that have no answers, the ontological piles of being sway in it and entropy triumphs, and in this world any attempt to oppose a separate, personal cozy corner with happy love and a happy ending to the ripping wind of chaos with his head betrays the philosophical inconsistency and creative mediocrity of the author, if not his complete lack of professionalism.

In the famous 66th sonnet of Shakespeare, it is love that acts as a force that can reconcile a person with the chaos of reality, it is what holds above the abyss.

Tired with all these, for restful death J cry...

Remember? After a list of all the injustices of the world and the hardships of life, the poet says:

Tired with all these, from these J would be gone,

Save that, to die, J leave my love alone.

love literature russian

There is such an understanding of love in the Russian tradition, when through love and suffering a person rises to more high levels consciousness, acquires the meaning of life and the path to truth. But a feeling never turns into one of the building blocks of a successful house-building: regardless of the final relationship, it always rises to cosmic proportions (“Love is with sheets, torn insomnia, breaks down, jealous of Copernicus ...”) unknown villages into legends and lives, and themselves into the main participants in the universal mystery, "Where God fights the Devil, and the battlefield is the hearts of people."

• Introduction
• Conclusion

Introduction

The theme of feelings is eternal in art, music, literature. In all epochs and times, this feeling was devoted to many different creative works which have become inimitable masterpieces. This topic remains very relevant today. Particularly relevant in literary works- the theme of love. After all, love is the purest and most beautiful feeling that has been sung by writers since ancient times.

The lyrical side of the works is the first thing that attracts the attention of most readers. It is the theme of love that inspires, inspires and evokes a number of emotions, which are sometimes very contradictory. All the great poets and writers, regardless of the style of writing, themes, time of life, devoted a lot of their works to the ladies of their hearts. They invested their emotions and experiences, their observations and past experiences. Lyric works always full of tenderness and beauty, bright epithets and fantastic metaphors. The heroes of the works perform feats for the sake of their loved ones, take risks, fight, dream. And sometimes, watching such characters, you are imbued with the same experiences and feelings of literary heroes.

1. The theme of love in the works of foreign writers

In the Middle Ages in foreign literature the romance of chivalry was popular. Knightly romance - as one of the main genres of medieval literature, originates in the feudal environment in the era of the emergence and development of chivalry, for the first time in France in the middle of the 12th century. The works of this genre are filled with elements of the heroic epic, boundless courage, nobility and courage of the main characters. Often, knights went to exploits not for the sake of their kind or vassal duty, but in the name of their own glory and glorification of the lady of their heart. Fantastic adventure motifs, an abundance of exotic descriptions make the chivalric romance partly similar to a fairy tale, the literature of the East and the pre-Christian mythology of the North and Central Europe. The emergence and development of the chivalric romance was greatly influenced by the work of ancient writers, in particular Ovid, as well as the rethought legends of the ancient Celts and Germans.

Consider the features of this genre on the example of the work of the French medievalist philologist, writer Joseph Bedier "The Romance of Tristan and Isolde". Note that in this work there are many elements alien to traditional chivalric novels. For example, the mutual feelings of Tristan and Isolde are devoid of courtesy. In the chivalric novels of that era, the knight went to great deeds for the sake of love for beautiful lady, which for him was a living bodily embodiment of the Madonna. Therefore, the knight and the same Lady had to love each other platonically, and her husband (usually the king) is aware of this love. Tristan and Isolde, his beloved, are sinners in the light of Christian morality, not only medieval. They only care about one thing - to keep their relationship secret from others and to prolong their criminal passion by any means. Such is the role of Tristan's heroic leap, his constant "pretense", Isolde's ambiguous oath at the "God's court", her cruelty towards Brangien, whom Isolde wants to destroy because she knows too much, etc. Tristan and Isolde are defeated strongest desire to be together, they deny both earthly and divine laws, moreover, they doom not only their own honor, but also the honor of King Mark to desecration. But Uncle Tristana is one of the noblest heroes who humanly forgives what he should punish like a king. He loves his wife and nephew, he knows about their deceit, but this does not show his weakness at all, but the greatness of his image. One of the most poetic scenes of the novel is the episode in the forest of Morois, where King Mark found Tristan and Isolde sleeping, and seeing a naked sword between them, he readily forgives them (in the Celtic sagas, a naked sword separated the bodies of the heroes before they became lovers , but in the novel it is a hoax).

To some extent, it is possible to justify the heroes, to prove that it was not they at all who were to blame for their sudden outbreak of passion, they fell in love not at all because, say, Isolde’s “blondness” attracted him, and Tristan’s “valor” attracted her, but because the heroes drank a love potion by mistake, intended for a completely different occasion. Thus, love passion is depicted in the novel as the result of action. dark force, which penetrates into the bright world of the social world order and threatens to destroy it to the ground. This clash of two irreconcilable principles already contains the possibility of a tragic conflict, which makes The Romance of Tristan and Isolde a fundamentally pre-courtly work in the sense that courtly love can be arbitrarily dramatic, but it is always joy. The love of Tristan and Isolde, on the contrary, brings them one suffering.

“They languished apart, but suffered even more” when they were together. “Isolde has become a queen and lives in grief,” writes the French scholar Bedier, who retold the novel in prose in the nineteenth century, “Isolde has a passionate, tender love and Tristan is with her, whenever she wants, day and night.” Even while wandering in the forest of Morua, where the lovers were happier than in the luxurious castle of Tintagele, their happiness was poisoned by heavy thoughts.

Many other writers have been able to capture their thoughts about love in their works. For example, William Shakespeare gave the world a number of his works that inspire exploits and risk in the name of love. His "Sonnets" are filled with tenderness, luxurious epithets and metaphors. unifying feature artistic methods Shakespeare's poetry is rightly called harmony. The impression of harmony comes from all the poetic creations of Shakespeare.

The expressive means of Shakespeare's poetry are unusually varied. They inherited a lot from the entire European and English poetic tradition, but a lot of absolutely new things have been introduced. Shakespeare also shows his originality in the variety of new images he introduced into poetry, and in the novelty of the interpretation of traditional plots. He used in his works the usual poetry of the Renaissance poetic symbols. Already by that time there was a significant number of familiar poetic devices. Shakespeare compares youth with spring or sunrise, beauty with the charm of flowers, the withering of a person with autumn, old age with winter. The description of the beauty of women deserves special attention. “Marble whiteness”, “lily tenderness”, etc., these words contain boundless admiration female beauty they are filled with endless love and passion.

Undoubtedly best embodiment love in the work can be called the play "Romeo and Juliet". Love triumphs in the play. The meeting of Romeo and Juliet transforms them both. They live for each other: "Romeo: My heaven is where Juliet is." Not languid sadness, but a living passion inspires Romeo: “All day long, some kind of spirit carries me up above the earth in joyful dreams.” Love has transformed them inner world affected their relationships with people. Romeo and Juliet's feelings are severely tested. Despite the hatred between their families, they choose boundless love, merging in a single impulse, but individuality has been preserved in each of them. The tragic death only adds to the special mood of the play. This work is an example of a great feeling, despite early age main characters.

2. The theme of love in the works of Russian poets and writers

This topic is reflected in the literature of Russian writers and poets of all times. For more than 100 years, people have been turning to the poetry of Alexander Sergeevich Pushkin, finding in it a reflection of their feelings, emotions and experiences. The name of this great poet is associated with a tirade of poems about love and friendship, with the concept of honor and Motherland, images of Onegin and Tatyana, Masha and Grinev arise. Even the most strict reader will be able to discover something close in his works, because they are very multifaceted. Pushkin was a man passionately responding to all living things, a great poet, creator of the Russian word, a man of high and noble qualities. In the variety of lyrical themes that permeate Pushkin's poems, the theme of love is given such a significant place that the poet could be called a singer of this great noble feeling. In all world literature you will not find more shining example special predilection for this side of human relations. Obviously, the origins of this feeling lie in the very nature of the poet, sympathetic, able to reveal in each person the best properties of his soul. In 1818, at one of the parties, the poet met the 19-year-old Anna Petrovna Kern. Pushkin admired her radiant beauty and youth. Years later Pushkin met again with Kern, as charming as before. Pushkin presented her with a recently printed chapter of Eugene Onegin, and between the pages he inserted poems written especially for her, in honor of her beauty and youth. Poems dedicated to Anna Petrovna “I remember a wonderful moment” is a famous hymn to a high and bright feeling. This is one of the pinnacles of Pushkin's lyrics. Poems will captivate not only with the purity and passion of the feelings embodied in them, but also with harmony. Love for the poet is a source of life and joy, the poem "I loved you" is a masterpiece of Russian poetry. More than twenty romances have been written on his poems. And let time pass, the name of Pushkin will always live in our memory and awaken the best feelings in us.

With the name of Lermontov opens new era Russian literature. Lermontov's ideals are boundless; he longs not for a simple improvement of life, but for the acquisition of complete bliss, a change in the imperfection of human nature, an absolute resolution of all the contradictions of life. Immortal life- the poet does not agree to less. However, love in the works of Lermontov bears a tragic imprint. This was influenced by his only, unrequited love for a friend of his youth - Varenka Lopukhina. He considers love impossible and surrounds himself with a halo of martyrdom, placing himself outside the world and life. Lermontov is sad about the lost happiness “My soul must live in earthly captivity, Not for long. Maybe I won’t see more, Your gaze, your sweet gaze, so tender for others.

Lermontov emphasizes his remoteness from everything worldly: "Whatever it is earthly, but I will not become a slave." Lermontov understands love as something eternal, the poet does not find solace in routine, fleeting passions, and if he sometimes gets carried away and steps aside, then his lines are not the fruit of a sick fantasy, but just a momentary weakness. “At the feet of others, I did not forget the gaze of your eyes. Loving others, I only suffered the Love of the old days.

human, earthly love seems to be an obstacle for the poet on his way to higher ideals. In the poem “I will not humiliate myself before you,” he writes that inspiration is dearer to him than unnecessary quick passions that can be thrown human soul into the abyss. Love in Lermontov's lyrics is fatal. He writes, “Inspiration saved me from petty fuss, but there is no salvation from my soul even in happiness itself.” In Lermontov's poems, love is a high, poetic, bright feeling, but always unshared or lost. In the poem "Valerik", the love part, which later became a romance, conveys a bitter feeling of losing touch with his beloved. “Is it crazy to wait for love in absentia? In our age, all feelings are only for a period, but I remember you, ”the poet writes. The theme of betrayal of a beloved, unworthy of a great feeling or not standing the test of time, becomes traditional in Lermontov's literary creations related to his personal experience.

The discord between dream and reality permeates this wonderful feeling; love does not bring joy to Lermontov, he receives only suffering and sorrow: “I am sad because I love you.” The poet is worried about the meaning of life. He is sad about the transience of life and wants to have time to do as much as possible in the short time allotted to him on earth. In his poetic reflections, life is hateful to him, but death is terrible.

Considering the theme of love in the works of Russian writers, one cannot but appreciate Bunin's contribution to the poetry of this subject. The theme of love occupies almost the main place in Bunin's work. In this topic, the writer has the opportunity to correlate what happens in the soul of a person with the phenomena of external life, with the requirements of a society that is based on the relationship of purchase and sale and in which wild and dark instincts sometimes reign. Bunin was one of the first in Russian literature to devote his works not only to the spiritual, but also to the bodily side of love, touching with extraordinary tact the most intimate, intimate aspects of human relationships. Bunin was the first to dare to say that bodily passion does not necessarily follow a spiritual impulse, which happens in life and vice versa (as happened with the heroes of the story " Sunstroke"). And no matter what plot moves the writer chooses, love in his works is always a great joy and a great disappointment, a deep and insoluble mystery, it is both spring and autumn in a person’s life.

IN different periods Of his work, Bunin speaks of love with varying degrees of frankness. In his early works the characters are open, young and natural. In such works as "In August", "In Autumn", "Dawn All Night", all events are extremely simple, brief and significant. The feelings of the characters are ambivalent, colored with halftones. And although Bunin talks about people who are alien to us in appearance, life, relationships, we immediately recognize and realize in a new way our own premonitions of happiness, expectations of deep spiritual changes. The rapprochement of Bunin's heroes rarely achieves harmony; as soon as it appears, it most often disappears. But the thirst for love burns in their souls. A sad parting with his beloved is completed by dreamy dreams (“ In August“): “Through tears I looked into the distance, and somewhere I dreamed of sultry southern cities, a blue steppe evening and the image of some woman who merged with the girl I loved ... » . A date is remembered because it testifies to a touch on genuine feeling: “Whether she was better than the others whom I loved, I don’t know, but that night she was incomparable” (“Autumn”). And in the story "Dawn all night" Bunin tells about the premonition of love, about the tenderness that young girl Ready to give to your future lover. At the same time, youth tends not only to get carried away, but also quickly disappointed. Bunin's works show us this painful gap between dreams and reality for many. “After a night in the garden, full of nightingale whistling and spring trembling, young Tata suddenly hears in her sleep how her fiancé shoots jackdaws, and understands that she does not love this rude and mundane man at all.”

Majority early stories Bunina tells about the desire for beauty and purity - this remains the main spiritual impulse of his characters. In the 1920s, Bunin wrote about love, as if through the prism of past memories, peering into the departed Russia and those people who are no longer there. This is how we perceive the story "Mitina's Love" (1924). In this story, the writer consistently shows the spiritual development of the hero, leading him from love to collapse. In the story, feelings and life are closely intertwined. Mitya's love for Katya, his hopes, jealousy, vague forebodings seem to be covered with a special sadness. Katya, dreaming of an artistic career, spun in fake life capital and changed Mitya. His torment, from which he could not save the connection with another woman - the beautiful but down to earth Alyonka, led Mitya to commit suicide. Mitin's insecurity, openness, unpreparedness to face harsh reality, inability to suffer make us feel more acutely the inevitability and inadmissibility of what happened.

In a number Bunin's stories about love is described love triangle: husband - wife - lover ("Ida", "Caucasus", "The most beautiful sun"). In these stories, an atmosphere of inviolability of the established order reigns. Marriage is an insurmountable barrier to achieving happiness. And often what is given to one is ruthlessly taken away from another. In the story "Caucasus", a woman leaves with her lover, knowing for sure that from the moment the train leaves, hours of despair begin for her husband, that he will not stand it and rush after her. He is really looking for her, and not having found her, he guesses about the betrayal and shoots himself. Already here, the motif of love appears as a “sunstroke”, which has become a special, ringing note of the cycle “ Dark alleys».

Memories of youth and the Motherland bring together the cycle of stories "Dark Alleys" with the prose of the 1920s and 1930s. These stories are told in the past tense. The author seems to be trying to penetrate into the depths of the subconscious world of his characters. In most stories, the author describes bodily pleasures, beautiful and poetic, born in genuine passion. Even if the first sensual impulse seems frivolous, as in the story "Sunstroke", it still leads to tenderness and self-forgetfulness, and then to true love. This is exactly what happens to the characters in the stories. Business Cards”,“ Dark alleys ”,“ Late hour ”,“ Tanya ”,“ Rusya ”,“ In one familiar street. The writer writes about ordinary lonely people and their lives. That is why the past, filled with early, strong feelings, seems to be truly golden times, merges with the sounds, smells, colors of nature. As if nature itself leads to spiritual and physical rapprochement loving friend friend of people. And nature itself leads them to inevitable separation, and sometimes to death.

The skill of describing everyday details, as well as the sensual description of love, is inherent in all the stories of the cycle, but the story written in 1944 " Clean Monday» is not just a story about great secret love and mystery female soul, but some cryptogram. Too much in the psychological line of the story and in its landscape and everyday details seems like a ciphered revelation. Accuracy and abundance of details are not just signs of the times, not just nostalgia for forever lost Moscow, but the opposition of East and West in the soul and appearance of the heroine, leaving love and life for a monastery.

3. The theme of love in the literary works of the XX century

The theme of love continues to be relevant in the 20th century, in the era global catastrophes, a political crisis, when humanity makes attempts to re-form its attitude towards universal values. Writers of the 20th century often depict love as the last remaining moral category of the then destroyed world. In the novels of the writers of the “lost generation” (Remarque and Hemingway belong to them), these feelings are the necessary stimulus for which the hero tries to survive and live on. " Lost generation» - the generation of people who survived the first world war and left spiritually devastated.

These people refuse any ideological dogmas, are engaged in searches for the meaning of life in simple human relations. The feeling of a comrade’s shoulder, which almost merged with the instinct of self-preservation, guides the mentally lonely heroes of Remarque’s novel “On western front no change." It also determines the relationship that arises between the characters of the novel "Three Comrades".

Hemingway's character in A Farewell to Arms renounced military service, from what is usually called the moral obligation of a person, renounced for the sake of a relationship with his beloved, and his position seems very convincing to the reader. The man of the 20th century is constantly faced with the possibility of the end of the world, with the expectation own death or the death of a loved one. Katherine, the heroine of A Farewell to Arms, dies, as does Pat in Remarque's Three Comrades. The hero loses a sense of being needed, a sense of the meaning of life. At the end of both works, the hero looks at the dead body, which has already ceased to be the body of the beloved woman. The novel is filled with the author's subconscious thoughts about the mystery of the origin of love, about its spiritual basis. One of the main features of the literature of the 20th century is its inextricable connection with the phenomena public life. The author's reflections on the existence of such concepts as love and friendship appear against the backdrop of the socio-political problems of that time and, in essence, are inseparable from reflections on the fate of mankind in the 20th century.

In the work of Francoise Sagan, the theme of friendship and love usually remains within the framework of a person's private life. The writer often depicts the life of the Parisian bohemia; most of her heroes belong to her.F. Sagan wrote her first novel in 1953, and it was then perceived as a complete moral failure. IN the art world Sagan has no place for a strong and truly strong human attraction: this feeling must die as soon as it is born. It is replaced by another - a feeling of disappointment and sadness.

love theme literature writer

Conclusion

Love is a high, pure, wonderful feeling that people have sung since ancient times, in all languages ​​of the world. Love has been written about before, is being written about now, and will be written about in the future. No matter how different love is, this feeling is still beautiful. Therefore, they write so much about love, compose poems, love is sung in songs. The creators of beautiful works can be listed indefinitely, since each of us, whether he is a writer or a simple person, has experienced this feeling at least once in his life. Without love there will be no life on earth. And when reading works, we come across something sublime, which helps us to consider the world from the spiritual side. After all, with each hero we experience his love together.

Sometimes it seems that everything has been said about love in world literature. But love has a thousand shades, and each of its manifestations has its own holiness, its own sadness, its own break and its own fragrance.

List of sources used

1. Anikst A. A. Shakespeare's work. M.: Allegory, 2009 - 350 p.

2. Bunin, I. A. Collected works in 4 volumes. V.4 / I. A. Bunin. — M.: Pravda, 1988. — 558 p.

3. Volkov, A.V. Prose of Ivan Bunin / A.V. Volkov. — M.: Moskov. worker, 2008. - 548 p.

4. Grazhdanskaya Z. T. "From Shakespeare to Shaw"; English writers XVI-XX centuries Moscow, Prosveshchenie, 2011

5. Nikulin L. V. Kuprin // Nikulin L. V. Chekhov. Bunin. Kuprin: Literary portraits. — M.: 1999 — S..

6. Petrovsky M. Dictionary literary terms. In 2 volumes. M.: Allegory, 2010

7. Smirnov A. A. Shakespeare. Leningrad, Art, 2006

8. Teff N. A. Nostalgia: Stories; Memories. - L .: Fiction, 2011. - P. 267 - 446.

9. Shugaev V.M. Experiences of a reading person / V.M. Shugaev. — M.: Sovremennik, 2010. — 319 p.

INTRODUCTION

For the essay, I chose a topic related to the work of the famous Russian writer Alexander Ivanovich Kuprin. The choice of this name is explained by the fact that it is quite well-known and interesting writer, but in school curriculum not much time is devoted to his work, and when working on an essay, you can study in detail the work of the writer. The very life of the writer, his personality produce strong impression. This is a man of integrity, distinguished by firmness life position, true intelligence and kindness, the ability to understand life.

The purpose of my work:

To reveal the features of the image of the theme of love in the works of Kuprin;

Show the significance of this theme in his work.

Show the place of the theme of love in world and Russian literature;

To reveal the peculiarities of understanding this feeling by different authors;

To reveal, using the example of a trilogy about love, its different sides and faces;

Show the skill of the writer in the image of the characters.

Sometimes it seems that everything has been said about love in world literature. What can be said about love after Shakespeare's story of Romeo and Juliet, after Pushkin's Eugene Onegin, after Leo Tolstoy's Anna Karenina? You can continue this list of creations that sang love. But love has a thousand shades, and each of its manifestations has its own light, its own sadness, its own break and its own fragrance.

Kuprin has many subtle and excellent stories about love, about the expectation of love, about its tragic outcomes, about longing and eternal youth in the soul of man. Kuprin always and everywhere blessed love. You can't hide anything from love: either it highlights the true nobility of the human soul, or vices and base desires. Many writers in their books have tested and will test their characters, sending them this feeling. Each author tries to explain love in his own way, to contribute to its definition. For Kuprin, love is a gift from God, not available to everyone. Love has its peaks, which are able to master a few out of millions. Unfortunately, now it is less and less possible to meet a great fiery love between a man and a woman. People stopped bowing down and revering her. Love has become an ordinary, everyday feeling. The relevance of this work is that it is addressed to the eternal feeling, shows an example of an unusual, bright, selfless love and makes us, living in such an unromantic and sometimes soulless time, once again think about the meaning of the most amazing meeting on the roads of life - the meeting of a Man and a Woman.

creativity kuprin love story

LOVE IS ONE OF THE ETERNAL THEMES OF LITERATURE

The theme of love is eternal, as the very feeling that gave birth to it, spiritualized the art of all times and peoples. But in every era it expressed some special moral and aesthetic values. After all, love is a feeling that makes you perform feats and go to crime, a feeling that can move mountains, change the course of history, a feeling that gives happiness and inspiration and makes you suffer, a feeling without which life has no meaning.

Like all other literatures of the world, Russian literature devotes a considerable place to the theme of love, its “specific” weight is no less than in French or English literature. Although “love stories” in their purest form are not so common in Russian literature, more often the love plot is burdened with side lines and themes. However, the implementation of this theme in various texts belonging to Russian classical literature is distinguished by its great originality, which sharply distinguishes it from all other literatures of the world.

This originality lies, first of all, in the fact that Russian literature is characterized by a serious and close look at love and, more broadly, at the intimate relationship between a man and a woman. The motto of such an attitude can serve as a well-known proverb "no joke with love." There is only one reason for such seriousness - love in Russian literature almost always belongs to the realm of dramatic and very often tragic pathos, but very rarely the history of the relationship between a man and a woman - whether in prose or poetry - gives a reason for fun. Happy ending loved by many foreign writers and sometimes admitted even by Balzac, is not only absent in Russian literature, it is alien to it. All the famous love stories of Russian classics, from Karamzin's "Poor Lisa" to Bunin's "Dark Alleys", are very tense and end very badly.

The tragedy in the development of love themes stems from several sources, the oldest of which is, of course, folk tradition. Only in Russian folklore love ditties are called "suffering", only in the Russian village the word "pity" was synonymous with the word love. Thus, the emphasis is on the sad, painful side of the relationship between a man and a woman, and the spiritual principle is elevated to the head of the relationship. The popular understanding of marriage and love echoes the Christian, Orthodox understanding of marriage as a test of the strength of a person's spiritual and physical strength, hard work in the name of a common goal.

Understanding love as higher power, connecting the divine with the human, is characteristic of the literature of the 20th century. It can be argued that the writers largely determined the integral concept of life through understanding the essence of love. First of all, this aspiration was expressed in the prose of Alexander Kuprin and Ivan Bunin. Writers were attracted not so much by the history of the relationship of a loving couple or the development of their psychological duel, but by the influence of the experience on the hero's understanding of himself and the whole world. Therefore, the event outline in their works is extremely simplified, and attention is focused on moments of insight, turning points. internal states characters:

Love, love - says the legend -

The union of the soul with the soul of the native -

Their connection, combination,

And their fatal merger,

And ... a fatal duel ...

(F. Tyutchev)

Bunin's love stories are a story about the mystery of love. He had his own concept of love: it arises like a sunstroke and strikes a person. In true love, Bunin believes, there is something in common with eternal nature. Only that feeling is beautiful, which is natural, not false, not invented. I. Bunin's book "Dark Alleys" can be considered an encyclopedia of love. The author himself considered it his most perfect creation. The writer puts a difficult artistic task: thirty-eight times (this is the number of stories in the book) write about the same thing - about love. Bunin shows various and bizarre faces of love: love is enmity, corrupt love, love is pity, love is compassion, carnal love. The book opens with the story of the same name "Dark Alleys". Despite the fact that it is small, the action develops quickly, the author managed to fully reveal the topic. tragic love people of various classes. The old gray-haired officer Nikolai Alekseevich meets a woman at the inn, whom he was in love with in his youth, and then left. She carried her feelings throughout her life. “Youth passes for everyone, but love is another matter,” says the heroine. This huge passionate feeling passes through her fate like a bright beam, filling her with happiness, albeit in loneliness. Their love was born in the shadow of the alleys, and Nikolai Alekseevich himself will say at the end of the story: “Yes, of course, the best moments. And not the best, but truly magical!” Love like " easy breath visits the heroes and disappears. Fragile and fragile, she is doomed to death: Nikolai Alekseevich leaves Nadezhda, and, having met many years later, they are forced to part again. Love turned into tragedy. The hero now understands what moments of his life were the main ones. In his life, there was no place for happiness: his wife left him, his son "came out a scoundrel, an insolent man, without a heart, without honor, without a conscience." The story could not have a happy ending, but still does not leave a painful impression, since according to Bunin, "all love is a great happiness." One short moment is enough to illuminate the whole life of the heroes. In love, as in life, light and dark principles always oppose. Along with the feeling that illumines life, each lover has his own dark alleys. About this and best pages love prose of another representative of Russian literature - A. Kuprin.

MOU secondary school No. 33

ABSTRACT

Philosophy of love in the works

literature XIX – XX centuries"

11 "F" class

student: Balakireva M.A.

teacher: Zakharyeva N.I.

KALININGRAD - 2002

I. Introduction - p.2

II. Main part: - p.4

1. Love lyrics by M.Yu. Lermontov. - p.4

2. "Test by love" on the example of the work of I.A. - p.7

Goncharov "Oblomov".

3. The story of first love in the story of I.S. Turgenev "Asya" - p.9

4. "Every love is a great happiness..." (Concept - p.10

love in the cycle of stories by I.A. Bunin "Dark alleys")

5. Love lyrics S.A. Yesenin. - p.13

6. Philosophy of love in M. Bulgakov's novel - p.15

" Master and Margarita"

III. Conclusion. - p.18

List of used literature

I. INTRODUCTION.

The theme of love in literature has always been relevant. After all, love is the purest and most beautiful feeling that has been sung since ancient times. Love has always excited the imagination of mankind in the same way, whether it is youthful or more mature love. Love doesn't get old. People are not always aware of the true power of love, for if they were aware of it, they would raise up to it the greatest temples and altars and offered the greatest sacrifices, and meanwhile nothing like this is done, although Love deserves it. And therefore, poets and writers have always tried to show its true place in human life, relations between people, finding their own methods inherent in them, and expressing in their works, as a rule, personal views on this phenomenon of human existence. After all, Eros is the most philanthropic god, he helps people and heals ailments, both physical and moral, healing from which would be the greatest happiness for the human race.

There is an idea that early Russian literature does not know such beautiful images of love as the literature of Western Europe. We have nothing like the love of troubadours, the love of Tristan and Isolde, Dante and Beatrice, Romeo and Juliet ... and the defense of the Motherland, the theme of Yaroslavna's love is clearly visible. The reasons for the later "explosion" of the love theme in Russian literature should be sought not in the shortcomings of Russian literature, but in our history, mentality, in that special path of development of Russia, which fell to her as a state half European, half Asian, located on the border of two worlds. - Asia and Europe.

Perhaps in Russia there really were no such rich traditions in the development love story which were in Western Europe. Meanwhile, Russian literature of the 19th century provided a deep insight into the phenomenon of love. In the works of such writers as Lermontov and Goncharov, Turgenev and Bunin, Yesenin and Bulgakov and many others, the features of Russian Eros, the Russian attitude to the eternal and sublime topic- love. Love is the complete elimination of egoism, “rearrangement of the center of our life”, “transfer of our interest from ourselves to another”. This is a huge moral force love that abolishes selfishness, and

regenerating personality in the new, moral quality. In love, the image of God is reborn, that ideal beginning, which is connected with the image of eternal Femininity. Embodiment in individual life of this beginning creates those glimpses of immeasurable bliss, that “breath of unearthly joy”, which is familiar to every person who has ever experienced love. In love, a person finds himself, his personality. A single, true individuality is reborn in it.

With volcanic energy, the theme of love breaks into Russian literature late XIX- the beginning of the 20th century. Poets and writers, philosophers, journalists, critics write about love.

For several decades in Russia, more has been written about love than for several centuries. Moreover, this literature is distinguished by intensive searches and originality of thinking.

It is impossible within the framework of the abstract to highlight the entire treasury of Russian love literature, just as it is impossible to give preference to Pushkin or Lermontov, Tolstoy or Turgenev, therefore the choice of writers and poets in my essay, on the example of whose work I want to try to reveal the chosen topic, is rather personal. Each of the word artists I chose saw the problem of love in their own way, and the diversity of their views allows us to reveal the chosen topic as objectively as possible.

II. MAIN PART

1. Love lyrics by M.Yu. Lermontov.

I can't define love

But this passion is the strongest! - be in love

Need me; and i loved

By all the tension mental strength.

These lines from the poem "1831 - June 11th" are like an epigraph to the lyrics of "strongest passions" and deep suffering. And, although Lermontov entered Russian poetry as the direct heir of Pushkin, this eternal theme-theme love sounded completely different to him. “Pushkin is the daylight, Lermontov is the night light of our poetry,” wrote Merezhkovsky. If for Pushkin love is a source of happiness, then for Lermontov it is inseparable from sadness. In Mikhail Yuryevich, the motives of loneliness, the opposition of the rebel hero to the “insensitive crowd” also permeate love poems; in his artistic world, a high feeling is always tragic.

Only occasionally in verse young poet the dream of love merged with the dream of happiness:

You would reconcile me

With people and violent passions, -

he wrote, referring to N.F.I. - Natalya Fedorovna Ivanova, with whom he was passionately and hopelessly in love. But this is just one, not repeated moment. The whole cycle of poems dedicated to Ivanova is a story of unrequited and offended feelings:

I'm not worthy, maybe

your love; I'm not to judge,

But you cheated

My hopes and dreams

And I will say that you

Acted unfairly.

Before us are like the pages of a diary, which captures all the shades of the experience: from flashing insane hope to bitter disappointment:

And a crazy verse, a farewell verse

I threw it into your album for you,

Like the only trace, sad,

Which I will leave here.

The lyrical hero is destined to remain lonely and misunderstood, but this only strengthens in him the consciousness of his chosenness, destined for a different, higher freedom and a different happiness - the happiness of creating. The final poem of the cycle - one of Lermontov's most beautiful - is not only parting with a woman, it is also a liberation from a humiliating and enslaving passion:

You forgot: I am freedom

I will not give up for delusion ...

AND the whole world hated

To love you more...

This typically romantic device determines the style not only of one poem, built on contrasts and oppositions, but of the entire poet's lyrics as a whole. And next to the image of the "changed angel" under his pen, another female image, sublime and ideal:

I saw your smile

She touched my heart...

These poems are dedicated to Varvara Lopukhina, for whom the poet's love did not fade until the end of his days. The captivating appearance of this gentle, spiritualized woman appears before us in the painting and in the poetry of Mikhail Yuryevich:

All her movements

Smiles, speeches and features

So full of life, inspiration.

So full of wonderful simplicity.

And in the poems dedicated to Varvara Alexandrovna, the same motif of separation, the fatal impossibility of happiness, sounds:

We are accidentally brought together by fate,

We found ourselves in one another,

And the soul made friends with the soul,

Though the way does not end them together!

Why is the fate of those who love so tragic? It is known that Lopukhina responded to Lermontov's feelings, there were no insurmountable barriers between them. The answer, probably, lies in the fact that Lermontov's "novel in verse" was not mirror image his life. The poet wrote about the tragic impossibility of happiness in this cruel world, "among the icy, among the merciless light." Before us again there is a romantic contrast between a high ideal and a low reality in which it cannot be realized. Therefore, Lermontov is so attracted by situations that are fraught with something fatal. It may be a feeling that rebelled against the power of "secular chains":

I'm sad because I love you

And I know: your blooming youth

The insidious persecution will not spare the rumor.

This may be a disastrous passion, depicted in such poems as "Gifts of the Terek", "Sea Princess".

Pondering these verses, it is impossible not to recall the famous "Sail":

Alas! he does not seek happiness ...

This line is echoed by others:

What is the life of a poet without suffering?

And what is the ocean without a storm?

Lermontov's hero seems to be running from serenity, from peace, behind which for him is the dream of the soul, fading away and the poetic gift itself.

No, you can't find Lermontov in the poetic world happy love in its usual sense. Soul kinship arises here outside of "anything earthly," even outside the usual laws of time and space.

Recall the amazing poem "Dream". It cannot even be considered love lyrics, but it is precisely this that helps to understand what love is for Lermontov's hero. For him, this is a touch to eternity, and not the path to earthly happiness. Such is love in the world that is called the poetry of Mikhail Yuryevich Lermontov.

Analyzing the work of M.Yu. Lermontov, we can conclude that his love is eternal dissatisfaction, the desire for something sublime, unearthly. Having met love in life, and mutual love, the poet is not satisfied with it, trying to elevate the flared feeling into the world of higher spiritual suffering and experiences. He wants to receive from love what is obviously unattainable, and as a result, this brings him eternal suffering, sweet flour. These sublime feelings give the poet strength and inspire him to new creative ups.

2. "Test of love" by example

works by I.A. Goncharov "Oblomov"

An important place in the novel "Oblomov" is occupied by the theme of love. Love, according to Goncharov, is one of the “main forces” of progress; the world is driven by love.

Main story line in the novel - the relationship between Oblomov and Olga Ilyinskaya. Here Goncharov follows the path that had become traditional in Russian literature by that time: checking the value of a person through his intimate feelings, his passions. The writer does not deviate from the then most popular resolution of such a situation. Goncharov shows how, through the moral weakness of a person who turned out to be unable to respond to strong feeling love, his social failure is revealed.

Spiritual world Olga Ilyinskaya is characterized by harmony of mind, heart, will. The impossibility for Oblomov to understand and accept

this high moral standard of life turns into an inexorable sentence to him as a person. There is a coincidence in the text of the novel, which turns out to be downright symbolic. On the same page where the name of Olga Ilyinskaya is first pronounced, the word "Oblomovism" also appears for the first time. However, it is not immediately possible to see a special meaning in this coincidence. In the novel, Ilya Ilyich’s suddenly flared up feeling of love, fortunately mutual, is poeticized in such a way that hope may arise: Oblomov will be successful, in the words of Chernyshevsky, “Hamlet education” and will be reborn as a person to the fullest. The inner life of the hero began to move. Love discovered in Oblomov's nature the properties of spontaneity, which, in turn, resulted in a strong spiritual impulse, in a passion that threw him towards beautiful girl, and two people "did not lie either to themselves or to each other: they betrayed what the heart said, and his voice passed through the imagination."

Together with a feeling of love for Olga, Oblomov awakens an active interest in spiritual life, in art, in the mental demands of the time. The hero is transformed so much that Olga, becoming more and more carried away by Ilya Ilyich, begins to believe in his final spiritual rebirth, and then in the possibility of their joint, happy life.

Goncharov writes that his beloved heroine “walked the simple natural path of life... she did not deviate from the natural manifestation of thought, feeling, will... No affectation, no coquetry, no tinsel, no intent!” This young and pure girl is full of noble thoughts in relation to Oblomov: “She will show him the goal, make him fall in love again with everything that he stopped loving ... He will live, act, bless life and her. To bring a person back to life - how much glory to the doctor when he saves a hopeless patient. And save the morally perishing mind, soul? And how much of her spiritual strength and feelings Olga gave in order to achieve this lofty moral goal. But, even love here was powerless.

Ilya Ilyich is far from the naturalness of Olga, free from many worldly considerations, extraneous and essentially hostile to the feeling of love. It soon turned out that Oblomov's feeling of love for Olga was a short-term outbreak. Illusions on this score are quickly dissipated by Oblomov. The need to make decisions, marriage - all this frightens our hero so much that he is in a hurry to convince Olga: “... you were mistaken,

in front of you is not the one you were waiting for, whom you dreamed about. The gap between Olga and Oblomov is natural: their natures are too dissimilar. Olga's last conversation with Oblomov reveals the huge difference between them. “I found out,” says Olga, “only recently that I loved in you what I wanted to be in you, what Stoltz pointed out to me, what we invented with him. I loved the future Oblomov. You are meek, honest, Ilya; you are gentle ... you are ready to coo all your life under the roof ... but I am not like that: this is not enough for me.

Happiness was short-lived. More expensive than romantic dates was for Oblomov the thirst for a serene, sleepy state. "A man sleeps serenely" - this is how Ilya Ilyich sees the ideal of existence.

The quiet fading of emotions, interests, aspirations and even life itself, that's all that Oblomov had left after a bright flash of feelings. Even love could not bring him out of hibernation, change his life. But still, this feeling could, even if a short time, to awaken Oblomov's consciousness, made him "come to life" and feel an interest in life, but, alas, only for a short time! According to Goncharov, love is a beautiful, vibrant feeling, but love alone was not enough to change the life of a person like Oblomov.

3. The story of first love in the story

I.S. Turgenev "Asya"

The story of Ivan Sergeevich Turgenev "Asya" is a work about love, which, according to the writer " stronger than death and fear of death” and by which “life is held and moved”. Asya's upbringing has roots in Russian traditions. She dreams of going "somewhere, to prayer, to a difficult feat." The image of Asya is very poetic. It is the romantic dissatisfaction of the image of Asya, the seal of mystery that lies on her character and behavior, that gives her attractiveness and charm.

After reading this story, Nekrasov wrote to Turgenev: “... she is so lovely. Spiritual youth emanates from her, all of her - pure gold life. Without exaggeration, this beautiful setting fell into place with a poetic plot, and something unprecedented in beauty and purity came out with us.

Asya could be called a story about first love. This love ended sadly for Asya.

Turgenev was fascinated by the topic of how important it is not to pass by your happiness. The author shows how a beautiful love was born in a seventeen-year-old girl, proud, sincere and passionate. Shows how everything ended in one moment.

Asya doubts that one can fall in love with her, whether she is worthy of such a beautiful young man. She strives to suppress the nascent feeling in herself. She worries that she loves her dear brother less than a person who I have only seen a few times. But Mr. N.N. introduced himself to the girl extraordinary person in the romantic setting in which they met. This is not a person of active action, but a contemplative. Of course, he is not a hero, but he managed to touch Asya's heart. With pleasure, this cheerful, carefree person begins to guess that Asya loves him. "I'm about tomorrow Did not think; I felt good." “Her love both pleased and embarrassed me ... The inevitability of a quick, almost instant decision tormented me ...” And he comes to the conclusion: “To marry a seventeen-year-old girl, with her disposition, how is it possible!” Believing that the future is infinite, he is not going to decide fate now. He pushes Asya away, who, in his opinion, overtook the natural course of events, most likely would not have led to a happy ending. Only many years later, the hero realized how important the meeting with Asya was in his life.

Turgenev explains the reason for the failed happiness by the lack of will of a nobleman who at the decisive moment gives in to love. Postponing a decision to an indefinite future is a sign mental weakness. A person should feel a sense of responsibility for himself and those around him every minute of his life.

4. "All love is a great happiness..."

(The concept of love in the story cycle

I.A. Bunin "Dark alleys")

I.A. Bunin has a very peculiar view of love relationships that distinguishes him from many other writers of that time.

In Russian classical literature of that time, the theme of love has always occupied important place, and preference was given to spiritual, "platonic" love

before sensuality, carnal, physical passion, which was often debunked. The purity of Turgenev's women has become a household word. Russian literature is predominantly the literature of "first love".

The image of love in Bunin's work is a special synthesis of spirit and flesh. According to Bunin, the spirit cannot be comprehended without knowing the flesh. I. Bunin defended in his works a pure attitude towards the carnal and bodily. He did not have the concept of female sin, as in Anna Karenina, War and Peace, Kreutzer Sonata by L.N. Tolstoy, there was no wary, hostile attitude towards the feminine, characteristic of N.V. Gogol, but there was no vulgarization of love. His love is an earthly joy, a mysterious attraction of one sex to another.

An encyclopedia of love dramas can be called "Dark Alleys" - a book of stories about love. “She speaks of the tragic and of many tender and beautiful things - I think that this is the best and most original thing that I wrote in my life ...” Bunin admitted to Teleshov in 1947.

When describing risky details related to the body, when the author must be impartial in order not to go

the fragile line that separates art from pornography, Bunin, on the contrary, worries too much - to a spasm in the throat, to a passionate tremor: “... it just darkened in her eyes at the sight of her pinkish body with a tan on her shiny shoulders ... her eyes turned black and expanded even more, the lips parted feverishly ”(“ Galya Ganskaya. ”For Bunin, everything connected with sex is pure and significant, everything is shrouded in mystery and even holiness.

As a rule, the happiness of love in "Dark Alleys" is followed by parting or death. Heroes revel in intimacy, but

it leads to separation, death, murder. Happiness cannot be eternal. Natalie "died on Lake Geneva in a premature birth". Galya Ganskaya got poisoned. In the story “Dark Alleys”, the master Nikolai Alekseevich abandons the peasant girl Nadezhda - for him this story is vulgar and ordinary, and she loved him “all century”. In the story "Rusya", the lovers are separated by the hysterical mother of Rusya.

Bunin allows his heroes only to taste the forbidden fruit, to enjoy it - and then deprives them of happiness, hopes, joys, even life. The hero of the story "Natalie" loved two at once, but did not find family happiness with any of them. In the story "Heinrich" - an abundance of female images for every taste. But the hero remains alone and free from the "wives of men."

Bunin's love does not go into the family channel, it is not allowed happy marriage. Bunin deprives his heroes of eternal happiness, deprives them because they get used to it, and the habit leads to the loss of love. Love out of habit cannot be better than lightning-fast love, but sincere. The hero of the story "Dark Alleys" cannot tie himself family ties with a peasant woman, Nadezhda, but having married another woman of his circle, he does not find family happiness. The wife cheated, the son is a wast and a scoundrel, the family itself turned out to be “the most ordinary vulgar history". However, despite the short duration, love still remains eternal: it is eternal in the memory of the hero precisely because it is fleeting in life.

A distinctive feature of love in the image of Bunin is a combination of seemingly incompatible things. It is no coincidence that Bunin once wrote in his diary: “And again, again, such indescribably - sweet sadness from that eternal deception of another spring, hopes and love for the whole world, which you want with tears

gratitude to kiss the earth. Lord, Lord, why do you torment us like this.

The strange connection between love and death is constantly emphasized by Bunin, and therefore it is no coincidence that the title of the collection "Dark Alleys" here does not mean "shady" at all - these are dark, tragic, intricate labyrinths of love.

Any real love- great happiness, even if it ends in separation, death, tragedy. To this conclusion, albeit late, but many Bunin's heroes come, who have lost, overlooked or destroyed their love themselves. In this late repentance, late spiritual resurrection, enlightenment of heroes and

there is that all-cleansing melody that speaks of the imperfection of people who have not yet learned to live, recognize and value real feelings, and of the imperfection of life itself, social conditions, environment, circumstances that often interfere with truly human relationships, and most importantly - about those high emotions that leave an unfading trace of spiritual beauty, generosity, devotion and purity.

5. Love lyrics by S. Yesenin

S. Yesenin's love lyrics are painted in pure and gentle tones. The feeling of love is perceived by the poet as a rebirth, as the awakening of all the most beautiful in a person. Yesenin shows himself to be a brilliant master of disclosure, using Pushkin's term "the physical movement of passions." Through the smallest details he draws a complex range of feelings. Only two lines:

Anyway - your eyes are like the sea,

Blue swaying fire

Just to gently touch the hand

And your hair color in autumn

And in each of them - the uniqueness of feeling. The fullness and true poetry of experiences, the great beauty of love.

The cycle "Love of a Hooligan" is compositionally built as a novel about a hero in love - from the beginning of a feeling to its end, from "the first time I sang about love" to "did I fall out of love with you yesterday?"

If in the book “Poems of a brawler” love is “infection”, “plague”, with a cynical word, with a defiant “Our life is a sheet and a bed, our life is a kiss and into the pool”, then in “Love of a bully” the image of love is bright, and That's why lyrical hero declares: “For the first time I refuse to scandal”; “I didn’t like drinking and dancing, and losing my life without looking back”; "That I say goodbye to hooliganism." This love is so pure that the beloved is associated with the iconic face: “Your iconic and strict face hangs in chapels in ryazan”.

“Love of a bully” is the subtlest psychological lyrics, in which the poet’s autumn moods are in tune with peace of mind, which is becoming more and more insistent main theme his

late poetry. Love is a rare topic in early work Yesenin. Now, in his late lyrics, the concept of grace-filled love is emerging, not burdensome, giving joy and quiet sadness. Yesenin's love gives pleasure, and Pushkin's tradition also affected this. Both in “The Love of a Hooligan” and in subsequent poems on this topic, there is practically no love pessimism, love drama, love reflection, characteristic of the image of love in the lyrics.

M. Lermontov, A. Akhmatova, A. Blok, V. Mayakovsky

The next cycle of love poems is "Persian

motives”, in which S. Yesenin reveals the art of love. Here Yesenin mentions Saadi, who created the image of a Turkish woman who overshadowed the beauty of everyone and everything, and the image of his breathtaking, hypertrophied love: he is smitten with her eyes, he "bleeds from the heart", he "is exhausted from jealousy", and sherbet without a loved one became bitter poison, he retires into the thicket of gardens, possessed by the “madness of love”, and his peri is “the breath of early spring”, this is “musk and amber”, her look is drunken with crimson wine, and “the light that illuminates the whole world dims before her” .

Yesenin is not focused on love suffering, on

love self-destruction, he writes poems about the ability to love, about guessing desires, about the attributes of love: from gifts to his beloved (“I will give a shawl from Khorossan / And I will give a Shiraz carpet”), from affectionate speeches (“How to tell me for the beautiful Lala / tender Persian “I love”?”; how to say to me for the beautiful Lala / Affectionate word “kiss”?”; “How to tell her that she is “mine”?” However, the Persian harmony of love in the artistic imagination of the poet is only temporary.

In 1925, the Don Juan theme was revealed in Yesenin's love lyrics. “Don't look at me reproachfully...”, “What a night! I can’t”, “You don’t love me, don’t feel sorry for me ...”, “Maybe it’s too late, maybe too early ...”, “Who am I? What am I? Only a dreamer...” – all these poems are devoted to “love of inexpensive”, “tempered connection”, mistaken for love of “sensual trembling”, frivolous women who are loved “by the way”. This love is without suffering, it is a pleasure, it does not require sacrifices from the poet. This love is pacifying, it corresponds to the mood of the poet for peace of mind. The lyrical hero of Yesenin, keeping the memory of true love "in the distant, dear", now notices in himself this love lightness, and the desire for eternal love happiness: "I began to resemble Don Juan, like a real windy poet"; "And from that

I have many knees, so that happiness smiles forever, not resigning itself to the bitterness of betrayal.

The philosophy of "I accept everything" helps the lyrical hero to resolve the classic love triangle. In the verses “Do not twist your smile, pulling your hands ...”, “What a night! I can't...", "Don't look at me reproachfully..." unrequited love women to him. She can't give him love, nor the "weasel-filled lie" given by another with "dove" eyes. But,

choosing the path of consent, striving for wholeness and peace, he succumbs to someone else's feeling: "But still caress and hug, in the sly passion of a kiss, may my heart dream forever of May, and the one that I love forever."

Yesenin's lyrical hero is not in the mood for reflection, duality, self-flagellation. He strives for harmony, for wholeness. The hero himself suppresses every reason for suffering - in this case because of the "bitterness of treason."

Yesenin's attitude to love was not constant, it changed with the poet with age. At first, it is joy, delight, he sees only pleasure in love. Then love becomes more passionate, bringing both burning joy and burning suffering. Later, in Yesenin's work, a philosophical understanding of life through love is observed.

6. Philosophy of love in the novel by M.A. Bulgakov

" Master and Margarita"

A special place in Russian literature is occupied by M. Bulgakov's novel "The Master and Margarita", which can be called the book of his life, the fantastic-philosophical, historical-allegorical novel "The Master and Margarita" provides great opportunities for understanding the views and searches of the author.

One of the main lines of the novel is connected with the "eternal

love” of the Master and Margarita, “thousands of people walked along Tverskaya, but I guarantee you that she saw me alone and looked not only anxiously, but even as if painfully. And I was struck not so much by beauty as by an extraordinary, unseen loneliness in the eyes! This is how the Master remembered his beloved.

It must have been some kind of incomprehensible light burning in their eyes, otherwise you can’t explain the love that “jumped out” in front of them, “like a murderer jumping out of the ground in an alley”, and struck them both at once.

One could expect that, since such love broke out, it would be passionate, stormy, burning both hearts to the ground, but she turned out to have a peaceful domestic character. Margarita came to the Master’s basement apartment, “put on an apron ... lit a kerosene stove and cooked breakfast ... when there were May thunderstorms and water rolled noisily in the gateway past the blinded windows ... the lovers melted the stove and baked potatoes in it ... In the basement laughter was heard, the trees in the garden threw off their broken branches and white brushes after the rain. When the thunderstorms ended and the stuffy summer came, the long-awaited and beloved roses appeared in the vase ... ".

This is how carefully, chastely, peacefully the story of this love is being told. Neither the joyless black days when the Master's novel was crushed by critics and the life of lovers stopped, nor the serious illness of the Master, nor his sudden disappearance for many months, did not extinguish it. Margarita could not part with him even for a minute, even when he was gone and had to think that he would no longer be at all. She could only mentally belittle him so that he would let her go free, "let her breathe the air, would leave her memory."

The love of the Master and Margarita will be eternal only because one of them will fight for the feelings of both. Margarita will sacrifice herself for the sake of love. The master will get tired and afraid of such

a powerful feeling that will eventually lead him to a madhouse. There he hopes that Margarita will forget him. Of course, the failure of the written novel also influenced him, but to refuse love?! Is there anything that can make you give up love? Alas, yes, and this is cowardice. The Master runs away from the whole world and from himself.

But Margarita saves their love. Nothing stops her. For the sake of love, she is ready to go through many trials. Need to become a witch? Why not, if it helps to find a lover.

Reading dedicated to Margaret pages, and one is tempted to call them Bulgakov's poem to the glory of his own beloved, Elena Sergeevna, with whom he was ready to commit, as he wrote about that on the copy of the collection Diaboliad presented to her, and really made "his last flight." Perhaps, in part, the way it is - a poem. In all the adventures of Margarita - both during the flight and visiting Woland - she is accompanied by the loving look of the author, in which there is both tender affection and pride in her - for her truly royal dignity,

generosity, tact, - and gratitude for the Master, whom she, by the power of her love, saved from madness and returned from non-existence.

Of course, her role is not limited to this. Both love and the whole story of the Master and Margarita are the main line of the novel. All events and phenomena that fill actions converge to it - life, politics, culture, and philosophy. Everything is reflected in bright waters this stream of love.

Bulgakov did not invent a happy ending in the novel. And only for the Master and Margarita the author saved in his own way happy ending: Eternal rest awaits them.

Bulgakov sees in love a force for which a person can overcome any obstacles and difficulties, as well as achieve eternal peace and happiness.

CONCLUSION

Summing up, I would like to say that Russian literature of the 19th - 20th centuries constantly turned to the theme of love, trying to understand its philosophical and moral sense. In this tradition, eros was understood broadly and ambiguously, first of all, as a path to creativity, to the search for spirituality, to moral perfection and moral responsiveness. The concept of eros presupposes the unity of philosophy and the concept of love, and therefore it is so closely connected with the world of literary images.

On the example of works literature XIX– XX centuries considered in the abstract, I tried to reveal the theme of the philosophy of love, using a look at it different poets and writers.

So, in the lyrics of M.Yu. Lermontov's heroes experience an exalted feeling of love, which takes them to the world of unearthly passions. Such love brings out the best in people, makes them nobler and purer, elevates them and inspires them to create beauty.

And the result of such a test is a state of sadness, tragedy. The author shows that even such a beautiful, sublime feeling of love could not fully awaken the consciousness of a “morally” perishing person.

In the story "Asya" I.S. Turgenev develops the theme of the tragic meaning of love. The author shows how important it is not to pass by your happiness. Turgenev explains the reason for the failed happiness of the heroes by the lack of will of the nobleman, who at the decisive moment gives in to love, and this speaks of the spiritual weakness of the hero.

Love in the work of I.A. Bunin manifests itself in the heroes as a deep, morally pure and wonderful feeling. The author shows that true love is a great happiness, even if it ends in separation, death or tragedy.

In the novel "The Master and Margarita" M. Bulgakov shows that a loving person is capable of sacrifice, of death for the sake of peace and happiness of a loved one. And yet he remains happy.

Times have changed, but the problems remain the same: “what is the meaning of life”, “what is good and what is evil”, “what is love and what is its meaning”. I think that the theme of love will always sound. I agree with the opinion of the writers and poets I have chosen that love can be different, happy and unhappy. But this feeling is deep, infinitely tender. Love makes a person nobler, purer, better, softer and more merciful. It brings out the best in everyone, makes life more beautiful.

Where there is no love, there is no soul.

I would like to finish my work with the words

Z.N. Gippius: “Love is one, true love carries immortality, an eternal beginning; love is life itself; you can get carried away, change, fall in love again, but true love always alone!"

LIST OF USED LITERATURE

1. A.A. Ivin "Philosophy of Love", Politizdat, M. 1990

2. N.M. Velkov "Russian Eros, or the Philosophy of Love in Russia", "Enlightenment", M. 1991

MOU secondary school No. 33

ABSTRACT

Philosophy of love in the works

literature XIX – XX centuries"

11 "F" class

student: Balakireva M.A.

teacher: Zakharyeva N.I.

KALININGRAD - 2002

I. Introduction - p.2

II. Main part: - p.4

1. Love lyrics by M.Yu. Lermontov. - p.4

2. "Test by love" on the example of the work of I.A. - p.7

Goncharov "Oblomov".

3. The story of first love in the story of I.S. Turgenev "Asya" - p.9

4. "Every love is a great happiness..." (Concept - p.10

love in the cycle of stories by I.A. Bunin "Dark alleys")

5. Love lyrics S.A. Yesenin. - p.13

6. Philosophy of love in M. Bulgakov's novel - p.15

" Master and Margarita"

III. Conclusion. - p.18

List of used literature

I. INTRODUCTION.

The theme of love in literature has always been relevant. After all, love is the purest and most beautiful feeling that has been sung since ancient times. Love has always excited the imagination of mankind in the same way, whether it is youthful or more mature love. Love doesn't get old. People are not always aware of the true power of love, for if they were aware of it, they would erect the greatest temples and altars to it and make the greatest sacrifices, and yet nothing of the kind is done, although Love deserves it. And therefore, poets and writers have always tried to show its true place in human life, relations between people, finding their own methods inherent in them, and expressing in their works, as a rule, personal views on this phenomenon. human being. After all, Eros is the most philanthropic god, he helps people and heals ailments, both physical and moral, healing from which would be the greatest happiness for the human race.

There is an idea that early Russian literature does not know such beautiful images of love as the literature of Western Europe. We have nothing like the love of troubadours, the love of Tristan and Isolde, Dante and Beatrice, Romeo and Juliet ... and the defense of the Motherland, the theme of Yaroslavna's love is clearly visible. The reasons for the later "explosion" of the love theme in Russian literature should be sought not in the shortcomings of Russian literature, but in our history, mentality, in that special path of development of Russia, which fell to her as a state half European, half Asian, located on the border of two worlds. - Asia and Europe.

Perhaps in Russia there really were no such rich traditions in the development of a love story as there were in Western Europe. Meanwhile, Russian literature of the 19th century provided a deep insight into the phenomenon of love. In the works of such writers as Lermontov and Goncharov, Turgenev and Bunin, Yesenin and Bulgakov and many others, the features of Russian Eros, the Russian attitude to the eternal and sublime theme - love, have developed. Love is the complete elimination of egoism, “rearrangement of the center of our life”, “transfer of our interest from ourselves to another”. This is the tremendous moral power of love, which abolishes selfishness, and

regenerating personality in a new, moral capacity. In love, the image of God is reborn, that ideal beginning, which is connected with the image of eternal Femininity. The embodiment in the individual life of this beginning creates those glimpses of immeasurable bliss, that “breath of unearthly joy”, which is familiar to every person who has ever experienced love. In love, a person finds himself, his personality. A single, true individuality is reborn in it.

With volcanic energy, the theme of love breaks into Russian literature of the late 19th and early 20th centuries. Poets and writers, philosophers, journalists, critics write about love.

For several decades in Russia, more has been written about love than for several centuries. Moreover, this literature is distinguished by intensive searches and originality of thinking.

It is impossible within the framework of the abstract to highlight the entire treasury of Russian love literature, just as it is impossible to give preference to Pushkin or Lermontov, Tolstoy or Turgenev, therefore the choice of writers and poets in my essay, on the example of whose work I want to try to reveal the chosen topic, is rather personal. Each of the word artists I chose saw the problem of love in their own way, and the diversity of their views allows us to reveal the chosen topic as objectively as possible.

II. MAIN PART

1. Love lyrics by M.Yu. Lermontov.

I can't define love

But this passion is the strongest! - be in love

Need me; and i loved

With all the tension of spiritual forces.

These lines from the poem "1831 - June 11th" are like an epigraph to the lyrics of "strongest passions" and deep suffering. And, although Lermontov entered Russian poetry as the direct heir of Pushkin, this eternal theme, the theme of love, sounded completely different for him. “Pushkin is the daylight, Lermontov is the night light of our poetry,” wrote Merezhkovsky. If for Pushkin love is a source of happiness, then for Lermontov it is inseparable from sadness. In Mikhail Yuryevich, the motives of loneliness, the opposition of the rebel hero to the “insensitive crowd” also permeate love poems; in his artistic world, a high feeling is always tragic.

Only occasionally in the poems of the young poet, the dream of love merged with the dream of happiness:

You would reconcile me

With people and violent passions, -

he wrote, referring to N.F.I. - Natalya Fedorovna Ivanova, with whom he was passionately and hopelessly in love. But this is just one, not repeated moment. The whole cycle of poems dedicated to Ivanova is a story of unrequited and offended feelings:

I'm not worthy, maybe

your love; I'm not to judge,

But you cheated

My hopes and dreams

And I will say that you

Acted unfairly.

Before us are like the pages of a diary, which captures all the shades of the experience: from flashing insane hope to bitter disappointment:

And a crazy verse, a farewell verse

I threw it into your album for you,

Like the only trace, sad,

Which I will leave here.

The lyrical hero is destined to remain lonely and misunderstood, but this only strengthens in him the consciousness of his chosenness, destined for a different, higher freedom and a different happiness - the happiness of creating. The final poem of the cycle - one of Lermontov's most beautiful - is not only parting with a woman, it is also a liberation from a humiliating and enslaving passion:

You forgot: I am freedom

I will not give up for delusion ...

There is a contrast between the high feeling of the hero and the “insidious betrayal” of the heroine in the very structure of the verse, saturated with antitheses, so characteristic of romantic poetry:

And the whole world hated

To love you more...

This typically romantic device determines the style not only of one poem, built on contrasts and oppositions, but of the entire poet's lyrics as a whole. And next to the image of the "changed angel" under his pen, another female image appears, sublime and ideal:

I saw your smile

She touched my heart...

These poems are dedicated to Varvara Lopukhina, for whom the poet's love did not fade until the end of his days. The captivating appearance of this gentle, spiritualized woman appears before us in the painting and in the poetry of Mikhail Yuryevich:

All her movements

Smiles, speeches and features

So full of life, inspiration.

So full of wonderful simplicity.

And in the poems dedicated to Varvara Alexandrovna, the same motif of separation, the fatal impossibility of happiness, sounds:

We are accidentally brought together by fate,

We found ourselves in one another,

And the soul made friends with the soul,

Though the way does not end them together!

Why is the fate of those who love so tragic? It is known that Lopukhina responded to Lermontov's feelings, there were no insurmountable barriers between them. The answer, probably, lies in the fact that Lermontov's "novel in verse" was not a mirror image of his life. The poet wrote about the tragic impossibility of happiness in this cruel world, "among the icy, among the merciless light." Before us again there is a romantic contrast between a high ideal and a low reality in which it cannot be realized. Therefore, Lermontov is so attracted by situations that are fraught with something fatal. It may be a feeling that rebelled against the power of "secular chains":

I'm sad because I love you

And I know: your blooming youth

The insidious persecution will not spare the rumor.

This may be a disastrous passion, depicted in such poems as "Gifts of the Terek", "Sea Princess".

Pondering these verses, it is impossible not to recall the famous "Sail":

Alas! he does not seek happiness ...

This line is echoed by others:

What is the life of a poet without suffering?

And what is the ocean without a storm?

Lermontov's hero seems to be running from serenity, from peace, behind which for him is the dream of the soul, fading away and the poetic gift itself.

No, in the poetic world of Lermontov one cannot find happy love in its usual sense. Soul kinship arises here outside of "anything earthly," even outside the usual laws of time and space.

Recall the amazing poem "Dream". It cannot even be attributed to love lyrics, but it is precisely this that helps to understand what love is for Lermontov's hero. For him, this is a touch to eternity, and not the path to earthly happiness. Such is love in the world that is called the poetry of Mikhail Yuryevich Lermontov.

Analyzing the work of M.Yu. Lermontov, we can conclude that his love is eternal dissatisfaction, the desire for something sublime, unearthly. Having met love in life, and mutual love, the poet is not satisfied with it, trying to elevate the flared feeling into the world of higher spiritual suffering and experiences. He wants to receive from love what is obviously unattainable, and as a result, this brings him eternal suffering, sweet flour. These sublime feelings give the poet strength and inspire him to new creative ups.

2. "Test of love" by example

works by I.A. Goncharov "Oblomov"

An important place in the novel "Oblomov" is occupied by the theme of love. Love, according to Goncharov, is one of the “main forces” of progress; the world is driven by love.

The main storyline in the novel is the relationship between Oblomov and Olga Ilyinskaya. Here Goncharov follows the path that had become traditional in Russian literature by that time: checking the value of a person through his intimate feelings, his passions. The writer does not deviate from the then most popular resolution of such a situation. Goncharov shows how through the moral weakness of a person who is unable to respond to a strong feeling of love, his social failure is revealed.

The spiritual world of Olga Ilyinskaya is characterized by harmony of mind, heart, will. The impossibility for Oblomov to understand and accept

this high moral standard of life turns into an inexorable sentence to him as a person. There is a coincidence in the text of the novel, which turns out to be downright symbolic. On the same page where the name of Olga Ilyinskaya is first pronounced, the word "Oblomovism" also appears for the first time. However, it is not immediately possible to see a special meaning in this coincidence. In the novel, Ilya Ilyich’s suddenly flared up feeling of love, fortunately mutual, is poeticized in such a way that hope may arise: Oblomov will be successful, in the words of Chernyshevsky, “Hamlet education” and will be reborn as a person to the fullest. The inner life of the hero began to move. Love discovered in Oblomov's nature the properties of spontaneity, which, in turn, resulted in a strong spiritual impulse, in a passion that threw him towards a beautiful girl, and two people “did not lie to themselves or to each other: they betrayed what the heart said, and his voice passed through the imagination.

Together with a feeling of love for Olga, Oblomov awakens an active interest in spiritual life, in art, in the mental demands of the time. The hero is transformed so much that Olga, becoming more and more carried away by Ilya Ilyich, begins to believe in his final spiritual rebirth, and then in the possibility of their joint, happy life.

Goncharov writes that his beloved heroine “walked the simple natural path of life... she did not deviate from the natural manifestation of thought, feeling, will... No affectation, no coquetry, no tinsel, no intent!” This young and pure girl is full of noble thoughts in relation to Oblomov: “She will show him the goal, make him fall in love again with everything that he stopped loving ... He will live, act, bless life and her. To bring a person back to life - how much glory to the doctor when he saves a hopeless patient. And save the morally perishing mind, soul? And how much of her spiritual strength and feelings Olga gave in order to achieve this lofty moral goal. But, even love here was powerless.

Ilya Ilyich is far from the naturalness of Olga, free from many worldly considerations, extraneous and essentially hostile to the feeling of love. It soon turned out that Oblomov's feeling of love for Olga was a short-term outbreak. Illusions on this score are quickly dissipated by Oblomov. The need to make decisions, marriage - all this frightens our hero so much that he is in a hurry to convince Olga: “... you were mistaken,

in front of you is not the one you were waiting for, whom you dreamed about. The gap between Olga and Oblomov is natural: their natures are too dissimilar. Olga's last conversation with Oblomov reveals the huge difference between them. “I found out,” says Olga, “only recently that I loved in you what I wanted to be in you, what Stoltz pointed out to me, what we invented with him. I loved the future Oblomov. You are meek, honest, Ilya; you are gentle ... you are ready to coo all your life under the roof ... but I am not like that: this is not enough for me.

Happiness was short-lived. More expensive than romantic dates was for Oblomov the thirst for a serene, sleepy state. "A man sleeps serenely" - this is how Ilya Ilyich sees the ideal of existence.

The quiet fading of emotions, interests, aspirations and even life itself, that's all that Oblomov had left after a bright flash of feelings. Even love could not bring him out of hibernation, change his life. But still, this feeling could, albeit for a short time, awaken Oblomov’s consciousness, made him “come to life” and feel an interest in life, but, alas, only for a short time! According to Goncharov, love is a beautiful, vibrant feeling, but love alone was not enough to change the life of a person like Oblomov.

3. The story of first love in the story

I.S. Turgenev "Asya"

The story of Ivan Sergeevich Turgenev "Asya" is a work about love, which, according to the writer, is "stronger than death and the fear of death" and which "holds and moves life." Asya's upbringing has roots in Russian traditions. She dreams of going "somewhere, to prayer, to a difficult feat." The image of Asya is very poetic. It is the romantic dissatisfaction of the image of Asya, the seal of mystery that lies on her character and behavior, that gives her attractiveness and charm.

After reading this story, Nekrasov wrote to Turgenev: “... she is so lovely. Spiritual youth emanates from her, all of her is pure gold of life. Without exaggeration, this beautiful setting fell into place with a poetic plot, and something unprecedented in beauty and purity came out with us.

Asya could be called a story about first love. This love ended sadly for Asya.

Turgenev was fascinated by the topic of how important it is not to pass by your happiness. The author shows how a beautiful love was born in a seventeen-year-old girl, proud, sincere and passionate. Shows how everything ended in one moment.

Asya doubts that one can fall in love with her, whether she is worthy of such a beautiful young man. She strives to suppress the nascent feeling in herself. She worries that she loves her dear brother less than a man whom she has only seen a few times. But Mr. N.N. introduced himself to the girl as an extraordinary person in the romantic setting in which they met. This is not a person of active action, but a contemplative. Of course, he is not a hero, but he managed to touch Asya's heart. With pleasure, this cheerful, carefree person begins to guess that Asya loves him. “I didn’t think about tomorrow; I felt good." “Her love both pleased and embarrassed me ... The inevitability of a quick, almost instant decision tormented me ...” And he comes to the conclusion: “To marry a seventeen-year-old girl, with her disposition, how is it possible!” Believing that the future is infinite, he is not going to decide fate now. He pushes Asya away, who, in his opinion, overtook the natural course of events, most likely would not have led to a happy ending. Only many years later, the hero realized how important the meeting with Asya was in his life.

Turgenev explains the reason for the failed happiness by the lack of will of a nobleman who at the decisive moment gives in to love. Postponing a decision to an indefinite future is a sign of mental weakness. A person should feel a sense of responsibility for himself and those around him every minute of his life.

4. "All love is a great happiness..."

(The concept of love in the story cycle

I.A. Bunin "Dark alleys")

I.A. Bunin has a very peculiar view of love relationships that distinguishes him from many other writers of that time.

In Russian classical literature of that time, the theme of love has always occupied an important place, and preference was given to spiritual, "platonic" love.

before sensuality, carnal, physical passion, which was often debunked. The purity of Turgenev's women has become a household word. Russian literature is predominantly the literature of "first love".

The image of love in Bunin's work is a special synthesis of spirit and flesh. According to Bunin, the spirit cannot be comprehended without knowing the flesh. I. Bunin defended in his works a pure attitude towards the carnal and bodily. He did not have the concept of female sin, as in Anna Karenina, War and Peace, Kreutzer Sonata by L.N. Tolstoy, there was no wary, hostile attitude towards the feminine, characteristic of N.V. Gogol, but there was no vulgarization of love. His love is an earthly joy, a mysterious attraction of one sex to another.

An encyclopedia of love dramas can be called "Dark Alleys" - a book of stories about love. “She speaks of the tragic and of many tender and beautiful things - I think that this is the best and most original thing that I wrote in my life ...” Bunin admitted to Teleshov in 1947.

The heroes of "Dark Alleys" do not oppose nature, often their actions are absolutely illogical and contrary to generally accepted morality (an example of this is the sudden passion of the heroes in the story "Sunstroke"). Bunin's love "on the verge" is almost a transgression of the norm, going beyond the ordinary. This immorality for Bunin, one might even say, is a certain sign of the authenticity of love, since ordinary morality turns out, like everything established by people, to be a conditional scheme that does not fit into the elements of natural, living life.

When describing risky details related to the body, when the author must be impartial in order not to go

the fragile line that separates art from pornography, Bunin, on the contrary, worries too much - to a spasm in the throat, to a passionate tremor: “... it just darkened in her eyes at the sight of her pinkish body with a tan on her shiny shoulders ... her eyes turned black and expanded even more, the lips parted feverishly ”(“ Galya Ganskaya. ”For Bunin, everything connected with sex is pure and significant, everything is shrouded in mystery and even holiness.

As a rule, the happiness of love in "Dark Alleys" is followed by parting or death. Heroes revel in intimacy, but

it leads to separation, death, murder. Happiness cannot be eternal. Natalie "died on Lake Geneva in a premature birth". Galya Ganskaya got poisoned. In the story “Dark Alleys”, the master Nikolai Alekseevich abandons the peasant girl Nadezhda - for him this story is vulgar and ordinary, and she loved him “all century”. In the story "Rusya", the lovers are separated by the hysterical mother of Rusya.

Bunin allows his heroes only to taste the forbidden fruit, to enjoy it - and then deprives them of happiness, hopes, joys, even life. The hero of the story "Natalie" loved two at once, but did not find family happiness with any of them. In the story "Heinrich" - an abundance of female images for every taste. But the hero remains alone and free from the "wives of men."

Bunin's love does not go into a family channel, it is not resolved by a happy marriage. Bunin deprives his heroes of eternal happiness, deprives them because they get used to it, and the habit leads to the loss of love. Love out of habit cannot be better than lightning-fast love, but sincere. The hero of the story "Dark Alleys" cannot bind himself by family ties with the peasant woman Nadezhda, but by marrying another woman of his circle, he does not find family happiness. The wife cheated, the son is a wast and a scoundrel, the family itself turned out to be "the most ordinary vulgar story." However, despite the short duration, love still remains eternal: it is eternal in the memory of the hero precisely because it is fleeting in life.

Distinctive feature love in the image of Bunin is a combination of seemingly incompatible things. It is no coincidence that Bunin once wrote in his diary: “And again, again, such indescribably - sweet sadness from that eternal deception of another spring, hopes and love for the whole world, which you want with tears

gratitude to kiss the earth. Lord, Lord, why do you torment us like this.

The strange connection between love and death is constantly emphasized by Bunin, and therefore it is no coincidence that the title of the collection "Dark Alleys" here does not mean "shady" at all - these are dark, tragic, intricate labyrinths of love.

Any true love is a great happiness, even if it ends in separation, death, tragedy. To this conclusion, albeit late, but many Bunin's heroes come, who have lost, overlooked or destroyed their love themselves. In this late repentance, late spiritual resurrection, enlightenment of heroes and

there is that all-cleansing melody that speaks of the imperfection of people who have not yet learned to live, recognize and value real feelings, and of the imperfection of life itself, social conditions, the environment, circumstances that often impede truly human relationships, and most importantly - about those high emotions that leave an unfading trace of spiritual beauty, generosity, devotion and purity.

5. Love lyrics by S. Yesenin

S. Yesenin's love lyrics are painted in pure and gentle tones. The feeling of love is perceived by the poet as a rebirth, as the awakening of all the most beautiful in a person. Yesenin shows himself to be a brilliant master of disclosure, using Pushkin's term "the physical movement of passions." Through the smallest details, he draws a complex range of feelings. Only two lines:

Anyway - your eyes are like the sea,

Blue swaying fire

Just to gently touch the hand

And your hair color in autumn

And in each of them - the uniqueness of feeling. The fullness and true poetry of experiences, the great beauty of love.

The cycle "Love of a Hooligan" is compositionally built as a novel about a hero in love - from the beginning of a feeling to its end, from "the first time I sang about love" to "did I fall out of love with you yesterday?"

If in the book “Poems of a brawler” love is “infection”, “plague”, with a cynical word, with a defiant “Our life is a sheet and a bed, our life is a kiss and into the pool”, then in “Love of a bully” the image of love is bright, and therefore, the lyrical hero declares: “For the first time I refuse to scandal”; “I didn’t like drinking and dancing, and losing my life without looking back”; "That I say goodbye to hooliganism." This love is so pure that the beloved is associated with the iconic face: “Your iconic and strict face hangs in chapels in ryazan”.

“Love of a bully” is the subtlest psychological lyrics, in which the poet’s autumn moods are in tune with peace of mind, which is becoming more and more insistent the main theme of his

late poetry. Love is a rare theme in Yesenin's early work. Now, in his late lyrics, the concept of grace-filled love is emerging, not burdensome, giving joy and quiet sadness. Yesenin's love gives pleasure, and Pushkin's tradition also affected this. Both in “The Love of a Hooligan” and in subsequent poems on this topic, there is practically no love pessimism, love drama, love reflection, characteristic of the image of love in the lyrics.

M. Lermontov, A. Akhmatova, A. Blok, V. Mayakovsky

The next cycle of love poems is "Persian

motives”, in which S. Yesenin reveals the art of love. Here Yesenin mentions Saadi, who created the image of a Turkish woman who overshadowed the beauty of everyone and everything, and the image of his breathtaking, hypertrophied love: he is smitten with her eyes, he "bleeds from the heart", he "is exhausted from jealousy", and sherbet without a loved one became bitter poison, he retires into the thicket of gardens, possessed by the “madness of love”, and his peri is “the breath of early spring”, this is “musk and amber”, her look is drunken with crimson wine, and “the light that illuminates the whole world dims before her” .

Yesenin is not focused on love suffering, on

love self-destruction, he writes poems about the ability to love, about guessing desires, about the attributes of love: from gifts to his beloved (“I will give a shawl from Khorossan / And I will give a Shiraz carpet”), from affectionate speeches (“How to tell me for the beautiful Lala / tender Persian “I love”?”; how to say to me for the beautiful Lala / Affectionate word “kiss”?”; “How to tell her that she is “mine”?” However, the Persian harmony of love in the artistic imagination of the poet is only temporary.

In 1925, the Don Juan theme was revealed in Yesenin's love lyrics. “Don't look at me reproachfully...”, “What a night! I can’t”, “You don’t love me, don’t feel sorry for me ...”, “Maybe it’s too late, maybe too early ...”, “Who am I? What am I? Only a dreamer...” – all these poems are devoted to “love of inexpensive”, “tempered connection”, mistaken for love of “sensual trembling”, frivolous women who are loved “by the way”. This love is without suffering, it is a pleasure, it does not require sacrifices from the poet. This love is pacifying, it corresponds to the mood of the poet for peace of mind. The lyrical hero of Yesenin, keeping the memory of true love "in the distant, dear", now notices in himself this love lightness, and the desire for eternal love happiness: "I began to resemble Don Juan, like a real windy poet"; "And from that

I have many knees, so that happiness smiles forever, not resigning itself to the bitterness of betrayal.

The philosophy of "I accept everything" helps the lyrical hero to resolve the classic love triangle. In the verses “Do not twist your smile, pulling your hands ...”, “What a night! I can't...", "Don't look at me reproachfully..." reveals the theme of a woman's unrequited love for him. She can't give him love, nor the "weasel-filled lie" given by another with "dove" eyes. But,

choosing the path of consent, striving for wholeness and peace, he succumbs to someone else's feeling: "But still caress and hug, in the sly passion of a kiss, may my heart dream forever of May, and the one that I love forever."

Yesenin's lyrical hero is not in the mood for reflection, duality, self-flagellation. He strives for harmony, for wholeness. The hero himself suppresses any reason for suffering - in this case, because of the "bitterness of betrayal."

Yesenin's attitude to love was not constant, it changed with the poet with age. At first, it is joy, delight, he sees only pleasure in love. Then love becomes more passionate, bringing both burning joy and burning suffering. Later, in Yesenin's work, a philosophical understanding of life through love is observed.

6. Philosophy of love in the novel by M.A. Bulgakov

" Master and Margarita"

A special place in Russian literature is occupied by M. Bulgakov's novel "The Master and Margarita", which can be called the book of his life, the fantastic-philosophical, historical-allegorical novel "The Master and Margarita" provides great opportunities for understanding the views and searches of the author.

One of the main lines of the novel is connected with the "eternal

love” of the Master and Margarita, “thousands of people walked along Tverskaya, but I guarantee you that she saw me alone and looked not only anxiously, but even as if painfully. And I was struck not so much by beauty as by an extraordinary, unseen loneliness in the eyes! This is how the Master remembered his beloved.

It must have been some kind of incomprehensible light burning in their eyes, otherwise you can’t explain the love that “jumped out” in front of them, “like a murderer jumping out of the ground in an alley”, and struck them both at once.

One could expect that, since such love broke out, it would be passionate, stormy, burning both hearts to the ground, but she turned out to have a peaceful domestic character. Margarita came to the Master’s basement apartment, “put on an apron ... lit a kerosene stove and cooked breakfast ... when there were May thunderstorms and water rolled noisily in the gateway past the blinded windows ... the lovers melted the stove and baked potatoes in it ... In the basement laughter was heard, the trees in the garden threw off their broken branches and white brushes after the rain. When the thunderstorms ended and the stuffy summer came, the long-awaited and beloved roses appeared in the vase ... ".

This is how carefully, chastely, peacefully the story of this love is being told. Neither the joyless black days when the Master's novel was crushed by critics and the life of lovers stopped, nor the serious illness of the Master, nor his sudden disappearance for many months, did not extinguish it. Margarita could not part with him even for a minute, even when he was gone and had to think that he would no longer be at all. She could only mentally belittle him so that he would let her go free, "let her breathe the air, would leave her memory."

The love of the Master and Margarita will be eternal only because one of them will fight for the feelings of both. Margarita will sacrifice herself for the sake of love. The master will get tired and afraid of such

a powerful feeling that will eventually lead him to a madhouse. There he hopes that Margarita will forget him. Of course, the failure of the written novel also influenced him, but to refuse love?! Is there anything that can make you give up love? Alas, yes, and this is cowardice. The Master runs away from the whole world and from himself.

But Margarita saves their love. Nothing stops her. For the sake of love, she is ready to go through many trials. Need to become a witch? Why not, if it helps to find a lover.

You read the pages dedicated to Margarita, and you are tempted to call them Bulgakov's poem to the glory of his own beloved, Elena Sergeevna, with whom he was ready to commit, as he wrote about that on the copy of the collection Diaboliad presented to her, and really made "his last flight." Perhaps, in part, the way it is - a poem. In all the adventures of Margarita - both during the flight and visiting Woland - she is accompanied by the loving look of the author, in which there is both tender affection and pride in her - for her truly royal dignity,

generosity, tact, - and gratitude for the Master, whom she, by the power of her love, saved from madness and returned from non-existence.

Of course, her role is not limited to this. Both love and the whole story of the Master and Margarita are the main line of the novel. All events and phenomena that fill actions converge to it - life, politics, culture, and philosophy. Everything is reflected in the clear waters of this stream of love.

Bulgakov did not invent a happy ending in the novel. And only for the Master and Margarita did the author reserve a happy ending in his own way: eternal rest awaits them.

Bulgakov sees in love a force for which a person can overcome any obstacles and difficulties, as well as achieve eternal peace and happiness.

CONCLUSION

Summing up, I would like to say that Russian literature of the 19th-20th centuries constantly turned to the theme of love, trying to understand its philosophical and moral meaning. In this tradition, eros was understood broadly and ambiguously, first of all, as a path to creativity, to the search for spirituality, to moral perfection and moral responsiveness. The concept of eros presupposes the unity of philosophy and the concept of love, and therefore it is so closely connected with the world of literary images.

On the example of works of literature of the 19th - 20th centuries considered in the abstract, I tried to reveal the theme of the philosophy of love, using the view of different poets and writers on it.

So, in the lyrics of M.Yu. Lermontov's heroes experience an exalted feeling of love, which takes them to the world of unearthly passions. Such love brings out the best in people, makes them nobler and purer, elevates them and inspires them to create beauty.

And the result of such a test is a state of sadness, tragedy. The author shows that even such a beautiful, sublime feeling of love could not fully awaken the consciousness of a “morally” perishing person.

In the story "Asya" I.S. Turgenev develops the theme of the tragic meaning of love. The author shows how important it is not to pass by your happiness. Turgenev explains the reason for the failed happiness of the heroes by the lack of will of the nobleman, who at the decisive moment gives in to love, and this speaks of the spiritual weakness of the hero.

Love in the work of I.A. Bunin manifests itself in the heroes as a deep, morally pure and wonderful feeling. The author shows that true love is a great happiness, even if it ends in separation, death or tragedy.

If we talk about the love lyrics of S.A. Yesenin, I would like to say that he wrote about love in different and original ways: both as a researcher of his own feelings, and as a philosopher, and as a poet at the same time. He sang the beauty of feeling, glorified love, as the greatest power that brings people together.

In the novel "The Master and Margarita" M. Bulgakov shows that a loving person is capable of sacrifice, of death for the sake of peace and happiness of a loved one. And yet he remains happy.

Times have changed, but the problems remain the same: “what is the meaning of life”, “what is good and what is evil”, “what is love and what is its meaning”. I think that the theme of love will always sound. I agree with the opinion of the writers and poets I have chosen that love can be different, happy and unhappy. But this feeling is deep, infinitely tender. Love makes a person nobler, purer, better, softer and more merciful. It brings out the best in everyone, makes life more beautiful.

Where there is no love, there is no soul.

I would like to finish my work with the words

Z.N. Gippius: “Love is one, true love carries immortality, an eternal beginning; love is life itself; you can get carried away, change, fall in love again, but true love is always the same!"

LIST OF USED LITERATURE

1. A.A. Ivin "Philosophy of Love", Politizdat, M. 1990

2. N.M. Velkov "Russian Eros, or the Philosophy of Love in Russia", "Enlightenment", M. 1991

3. M.Yu. Lermontov "Poems, poems", "Fiction", M. 1972

4. I.S. Turgenev "Tales and stories", "Fiction", Leningrad, 1986

5. I.A. Goncharov "Oblomov", "Enlightenment", M.1984

6. I.E. Kaplan, N.T. Pinaev, Reader of historical and literary materials yes 10th grade, "Enlightenment", M. 1993

7. I.A. Bunin "Favorites", "Maxla", Riga, 1985

8. N.M. Solntsev "Sergey Yesenin", Moscow State University, 1998

9. S.A. Yesenin "Poems and Poems", "Artistic

Literature, M. 1982

10. V.G. Boborykin "Mikhail Bulgakov", Enlightenment, M. 1991