You can talk about love for a long time and tediously, you can argue until you are hoarse and convince your opponent that your point of view is “more correct,” or you can say nothing at all. But the fact remains that each mature personality has his own idea of true love. I see no point in listing them - as they say, there are so many people, so many opinions. But it turns out that this is not entirely true.
At the end of the 19th and beginning of the 20th century, two great prose writers lived in our country - Ivan Alekseevich Bunin and Alexander Ivanovich Kuprin. These personalities are of particular interest due to a rather simple fact - their ideas about love were so similar that I am not afraid to call them the same. Moreover, they are so identical that the thoughts of one writer can be expressed in the words of another, and vice versa.
Let’s take, for example, the wonderful lines from Kuprin’s “Garnet Bracelet” (they perfectly reflect the essence of the author’s understanding of this feeling) - remember where General Anosov asks Vera: “Where is love? Is love unselfish, selfless, not waiting for reward? The one about whom it is said “strong as death”? The kind of love for which to accomplish any feat, to give one’s life, to suffer torment is not work at all, but pure joy.” He doesn’t even ask, but rather reasons, but Vera understood everything - “the love that every woman dreams of passed her by.” She passed quietly and deliberately unnoticed. Vera Nikolaevna didn’t even try to grab onto it. Why? The answer is quite simple - the mentality of our people is to blame. When Zheltkov began writing letters to his beloved, Vera already had a fiancé. Then the groom became a husband, but the letters continued. And Vera, like any “faithful wife,” simply had a defensive reaction - to ignore. She didn't even try to meet this man, listen to him and maybe even understand him. Vera simply ignored him, and when she finally understood everything, it was too late...
In Bunin’s “Dark Alleys” the situation is similar. Throughout her life, Nadezhda loved only one person - the St. Petersburg officer Nikolai Alekseevich. She not only loved him, she gave him all of herself: “No matter how much time passed, she lived alone. I knew that you had not been the same for a long time, that it was as if nothing had happened to you, but... It’s too late to reproach you now.” But for the officer, Nadezhda was only a pleasant memory from the past. And why all? Yes, because she was a serf. What would the public say if Nikolai Alekseevich married her? That was all he cared about. Even as he was leaving her inn, he thought: “But, my God, what would happen next? What if I hadn't left her? What nonsense! This same Nadezhda is not the innkeeper, but my wife, the mistress of my St. Petersburg house, the mother of my children?” Bunin expresses his position in one sentence: “All love is great happiness, even if it is not shared.”
As you can see, the desire for realism led these authors to one conclusion - true love exists, but if it is mutual, it does not last, if it is unrequited, it is destined to live much longer...
The theme of love was one of the main ones in the works of writers of the 20th century. They have written about love in all centuries, and even with the advent of modern times, it does not go unnoticed. This problem worried all generations of writers, among whom were A. Kuprin and I. Bunin. The prose of A. Kuprin, I. Bunin and other major artists of the era uniquely expressed the common aspiration. 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.
The limitless spiritual possibilities of man and his inability to realize them - this is what worried A. Kuprin, and was already captured in his early stories. Kuprin closely associated the awakening of personality with the eternal feeling of love.
In Kuprin's prose of the 1890s and early 1900s there are many stories about the death of love and the fragility of love unions. The initial attraction to beauty and self-sacrifice is very important for the author. Kuprin was especially fond of solid, strong natures.
« Garnet bracelet"is one of the most remarkable works in Kuprin’s work.
The rarest gift of unrequited worship of a woman - Vera Sheina - became “tremendous happiness”, the only content, the poetry of Zheltkov’s life. The phenomenality of his experiences elevates the image young man over all others. Not only the rude, narrow-minded Tuganovsky, Vera’s brother, her sister, a frivolous coquette, but also the smart, conscientious Shein, the heroine’s husband, who regards love as the “greatest secret” Anosov, the beautiful and pure Vera Nikolaevna herself are in a clearly reduced everyday environment.
From the first lines there is a feeling of fading. This can be seen in the autumn landscape, in the sad appearance of uninhabited dachas with broken windows. All this is connected with the monotonous life of Vera, whose tranquility is disrupted by Zheltkov.
Not finding reciprocal love, Zheltkov decides to die without permission. The psychological climax of the story is Vera’s farewell to Zheltkov’s ashes; their only “date” is a turning point in her spiritual state. Only with his death does Sheina learn about true love, which she never had.
Bunin's prose reflects dislike rather than love. Nevertheless, the attraction to this feeling is filled with poetry and passionate power.
He created the wonderful story “Mitya’s Love”. Its plot is very simple. Katya, passionately loved by Mitya, swirled in a false, bohemian environment and cheated on him. The suffering of the young man forms the content of the story, but it ends with suicide.
In both works there is a tragic ending that was inevitable.
A person cannot live only with his heart and find the whole meaning of life only in a woman or a man: in this way he could reach the very opposite of true love - selfishness.
People are constantly looking for the answer to the question: what is true love? Great poets and writers also tried to find the answer to this question. Many have described these feelings in countless poems, songs and novels. But no one was able to solve this mystery completely. That is why it is quite popular and widespread in literature. It is difficult to assess the place this feeling occupied in the life of our ancestors. Both Bunin and Kuprin did not ignore the theme of love. When you read their stories, you understand that love is a rather spontaneous and unpredictable feeling, and at the same time experiencing its great gift, which not everyone gets in life.
In Kuprin's work, the theme of love is key. He says that attraction and passion is a rather mysterious and all-consuming feeling that has virtually no boundaries. At the same time, he notes that for each person it has its own special meaning, but despite everything, it must be pure and sublime. The meaning of love for Kuprin is perfectly emphasized by the work “Olesya”. He talks about how a girl is capable of showing generosity and selflessness towards a person who does not have such spiritual depth. At the same time, she immediately understands that the outcome of this relationship will be tragic, and the pressure from society will be very strong. None of them were able to give up their existing way of life. The author thus shows that love is a strong enough feeling that can overcome any situation.
In Bunin’s work, love is positioned as a rather crazy and passionate feeling, unbridled happiness, which ends very quickly, and the fleetingness of the moment is realized only after time. At the same time, feelings in Bunin’s works always end tragically. The writer’s love does not flow into the family, the author deprives young people of the opportunity to live happily ever after, everything develops into a habit that deprives them of feelings of passion and the possibility of development. And love caused by habit is much worse than love caused by passion and a lightning impulse of the soul. But at the same time, feelings remain eternal in the memory and in the memories of the heroes, which allow them to live on, but at the same time, prevent them from finding happiness in life.
What is true love? Nobody can give an exact answer. Each person has their own experiences and associations associated with this deep feeling, many experience both pain and happiness, both joy and real suffering. Both Bunin and Kuprin show love as it really is. She cannot be perfect, and feelings often lead to a tragic conclusion. But at the same time, not everyone can experience this great feeling; many live only out of habit, without experiencing real passion for the one who is nearby. But only a few experience passion and attraction that develops into love, and even fewer people find it mutual and can carry it throughout their lives.
Option 2
Many writers in Russian literature were concerned with issues of love. This topic was brightly illuminated on the pages of famous works. Bunin and Kuprin were no exception.
Kuprin can be called with particular accuracy a master of the love theme, since in his work he illuminated sublime feelings in 3 of his works. One of the most famous works was “The Garnet Bracelet,” where the reader can understand the problem tragic love « little man" 8 years of irresponsible love of a simple telegraph operator for a society lady show us the tragedy of these feelings. All his letters sent to the woman became the subject of ridicule and bullying from wealthy people. Vera Nikolaevna also does not take these feelings seriously. But her brother is especially indignant when he finds out that this commoner unworthy of the princess is giving her a garnet bracelet.
Those around him consider the telegraph operator's love abnormal, but old General Anosov considers such feelings for a woman to be a gift of fate. The young man, unable to withstand cruelty and insults from people, dies without receiving any reciprocal feelings. We see that the writer views love here as a purely moral and psychological feeling. In the words of General Anosov, love feelings can be secret and no compromises can disrupt them. Love, according to the writer, should be built on mutual and trusting relationships. No less striking work was his story “Olesya”, where Kuprin showed the cruel world of capitalist society with its vices. The love of a nobleman with a simple girl from the wilderness also ends on a sad note. Their relationship is impossible. The great feeling of love is sung in another story, “Shulamith.”
Bunin, creating works on love themes, is shown to us talented person who know how to show a bright feeling. The peculiarity of his work was that the writer considered love a tragedy that can destroy a person. It is love that represents the element that can fill a person’s life with suffering and unrest, and can simply turn it upside down. So this theme is shown in the story “The Grammar of Love”, where the landowner Khvoshchinsky was struck by the charm of the maid and fell in love. The hero Ivlev, who arrived at this house, reflects on how this feeling captured the landowner so much. The writer was mainly interested in earthly love, and experiencing it is a great happiness. However, it has long been noticed that the stronger the love, the sooner it will end. But it will remain in my heart. So, in the story “ Dark alleys“Nadezhda carried her feelings for the landowner throughout her life. And the master remembers that although that time has passed, he had bright moments with this woman. When you read his works, you will notice that his love is never happy. But the writer believed that all love is happiness for a person.
Love in the works of Kuprin and Bunin
Bunin and Kuprin are Russian writers, their work dates back to the first half of the 20th century. They both worked on a theme about love. In their works, love is filled with tragedy, and this contributes to the fact that readers worry about the heroes of the books and let the story pass through themselves.
In Bunin's works, love always brings suffering. Heroes always break up, receiving incurable mental wounds, some strive to commit suicide. Love acts as a disinterested but passing feeling that covers you headlong without demanding anything in return.
In the period from 1937 to 1944, Bunin worked on a collection of short stories, “Dark Alleys,” which contained stories about love. The pattern is that all works have a tragic ending. Most famous story, included in the collection - “Sunstroke”. In this work, the characters love sincerely, with all their hearts.
The story describes the problem between young people in love with each other, their difficult separation and their internal contradictions. The story describes a meeting of two people on the deck of a ship, a spark runs between them, and they run away from the crowd. They rent a hotel room and indulge in passion. But in the morning they were faced with separation, there were tears and vows of love. Then they decided that everything that happened was just sunstroke. At this moment, the meaning of the name is revealed; it turns out that sunstroke symbolizes an unexpectedly surging feeling. With this story, the writer shows that real feeling comes suddenly.
Kuprin was a master of images. He made his characters bright and memorable. He knew how best to reveal human character in love. Kuprin shows love as a bright feeling, and not a short-term passion. But his stories, like Bunin’s, end tragically. The heroes will have to fight for love with the whole world.
In Kuprin's work, the theme of love is the most important. Love affects everyone in its own way. But the most important thing is that this feeling is mutual.
Both Bunin and Kuprin show real love, without hiding anything. Love is not ideal, and sooner or later you have to pay for everything, and everyone has their own payment.
Both writers place their heroes in such conditions that love makes them unhappy. It's about about social relations. In the story "Sunstroke" the lieutenant falls in love with married woman, with whom he experienced a romantic adventure. It’s the same with Kuprin in Zheltkov’s “Pomegranate Bracelet,” a feeling for the married princess that took over, crowding out everything else from his life.
Ivan Alekseevich Bunin and Alexander Ivanovich Kuprin wrote many works, the main theme of which is love.
Sample 4
Two Russian writers- Bunin and Kuprin belong to the first half of the 20th century. The main theme in their works was love. Their stories convinced, and to this day convince, that one can be completely immersed and imbued with the sincerity and impeccability of such an inspired feeling as love. These literary works of native classics are also endowed with tragedy, which often pushes the reader to suffer and feel sorry along with the main characters.
In all the short works of Ivan Alekseevich, the characters must part, they receive incurable heart injuries and even commit suicide. The feelings of love in his literary works are not eternal; besides, these generous spiritual feelings do not require anything in return. Bunin's characters want to find these indescribable tender feelings, but are burned by them.
In 1944, Bunin completed the book “Dark Alleys,” into which he added short prose works about love relationships. In this cycle, it turns out that it is impossible to find a story without an unhappy or difficult ending. One of famous stories books - “Sunstroke”. main topic- love feelings, ideal and untouched. The characters in this literary work loved not only physically, but also spiritually.
The work built conflicts between a couple in love, their separations and spiritual differences. There were two main characters - the lieutenant and the unknown beauty. The guy and the young lady met on the deck of the ship, where there was a lunch break. A spark flashed between them and the young man convinced his new girlfriend to run away from strangers. They immediately went to the hotel complex, in which there were only them and the flame of love, which immediately took possession of them. In the morning, the main characters needed to leave each other, but this became a problem for them. The lieutenant and the unknown beauty decided that it was heatstroke. This is where the subtext in the title of the story reveals itself. Here, heatstroke is a sign of an unexpected experience, a love relationship that turns off the head. Following this, the lieutenant sends for his beloved to the deck and begins to kiss her in front of everyone, it seems that this is heatstroke again.
Then the young man is in a vicious circle of his conclusions, that if she has a family and they are not destined to be together. He dreams of texting her, but has no idea where she lives. With this literary work, the writer informs readers that the most loving feelings arise unexpectedly and fall out of the blue.
In relation to Kuprin, one can say that he is a creator of images. He delved deeply into the spiritual world characters and made them extremely bright and memorable. The writer was aware of where human natures are most clearly revealed - in feelings of love. Alexander Ivanovich love is like a big and bright sensation, and not a short attraction. But many of his creations contain tragic features. The main characters and their love relationships there is a duel with merciless life ahead. The main quality of this author’s creations was personality, which Kuprin was able to show so colorfully in the field of human emotions, or more precisely, in love relationships.
Avdotya Romanovna was the governess of Svidrigailov’s children. Because of his harassment and persecution, she was unfairly slandered and kicked out of her place by his wife Marfa Petrovna
On November 28, 1884, the famous artist Zinaida Evgenievna Serebryanskaya was born near Kharkov. His father was a sculptor, and his mother was from the Benois family. to his artistic development she owes it to her family
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I.Introduction……………………………………………………………3
II Main part
1.Biographical information. I.A.Bunin. 4
A.I.Kuprin 6
2. Philosophy of love in the understanding of A.I. Kuprin………………….9
3.The theme of love in the works of I. A. Bunin.
14
4.Image of love in the works of modern authors. 19
III Conclusion.
26 IV.Literature………………………………………………………..27
I. Introduction The theme of love is called
eternal theme. Over the centuries, many writers and poets have dedicated their works to the great feeling of love, and each of them found something unique and individual in this theme: V. Shakespeare, who sang the most beautiful, most tragic story of Romeo and Juliet, A.S. Pushkin and his famous poems: “I loved you: love can still be...”, the heroes of M.A. Bulgakov’s work “The Master and Margarita,” whose love overcomes all obstacles on the path to their happiness. This list can be continued and supplemented by modern authors and their heroes who dream of love: Roman and Yulka by G. Shcherbakova, simple and sweet Sonechka by L. Ulitskaya, heroes of stories by L. Petrushevskaya, V. Tokareva.
The purpose of my essay:
explore the theme of love in the works of 20th century writers I.A. Bunin, A.I. Kuprin and modern writers, 21st century authors L. Ulitskaya, A. Matveeva.
To achieve this goal, it is necessary to solve the following tasks:
1) get acquainted with the main stages of the biography and creativity of these writers;
2) reveal the philosophy of love in the understanding of A.I. Kuprin (based on the story “The Garnet Bracelet” and the story “Olesya”);
3) identify the features of the depiction of love in the stories of I.A. Bunin;4) present the work of L. Ulitskaya and A. Matveeva from the point of view of continuing the traditions of the love theme in Russian literature.
II
Main part
1.Biographical information. I.A. Bunin (1870 – 1953).
Ivan Alekseevich Bunin is a wonderful Russian writer, poet and prose writer, a man of great and complex destiny. He was born in Voronezh into an impoverished noble family. I spent my childhood in the village. Early on he learned the bitterness of poverty, of worrying about a piece of bread.
Bunin's fate was marked by two circumstances that did not pass unnoticed for him: being a nobleman by birth, he did not even receive a high school education. And after leaving his native shelter, he never had his own home (hotels, private apartments, living as a guest and out of favor, always temporary and other people’s shelters).
In 1895 he came to St. Petersburg, and by the end of the last century he was already the author of several books: “To the End of the World” (1897), “Under open air"(1898), literary translation of "The Song of Hiawatha" by G. Longfellow, poems and stories.
Bunin deeply felt beauty native nature, had an excellent knowledge of the life and customs of the village, its customs, traditions and language. Bunin is a lyricist. His book “Under the Open Air” is a lyrical diary of the seasons, from the first signs of spring to winter landscapes, through which the image of the homeland close to the heart appears.
Bunin's stories of the 1890s, created in the traditions of realistic literature of the 19th century centuries, open up the world of village life. The author truthfully talks about the life of an intellectual - a proletarian with his spiritual turmoil, about the horror of the senseless vegetation of people “without family or tribe” (“Halt”, “Tanka”, “News from the Motherland”, “Teacher”, “Without Family or Tribe”, " Late at night"). Bunin believes that with the loss of beauty in life, the loss of its meaning is inevitable.
Over the course of his long life, the writer traveled to many countries in Europe and Asia. Impressions from these trips served as material for his travel sketches (“Shadow of the Bird,” “In Judea,” “Temple of the Sun,” and others) and short stories (“Brothers” and “The Master from San Francisco”).
Bunin did not accept the October Revolution decisively and categorically, rejecting as “bloody madness” and “general madness” any violent attempt to rebuild human society. He reflected his feelings in his diary of the revolutionary years, “Cursed Days,” a work of furious rejection of the revolution, published in exile.
In 1920, Bunin went abroad and fully experienced the fate of an emigrant writer.
Few poems were written in the 20-40s, but among them were lyrical masterpieces - “And flowers, and bumblebees, and grass, and ears of corn...”, “Mikhail”, “The bird has a nest, the beast has a hole...”, “ Rooster on a church cross." The book of Bunin, the poet, “Selected Poems,” published in 1929 in Paris, confirmed the author’s right to one of the first places in Russian poetry.
Ten new books of prose were written in exile - “Rose of Jericho” (1924), “Sunstroke” (1927), “Tree of God” (1930), etc., including the story “Mitya’s Love” (1925). This story is about the power of love, with its tragic incompatibility between the carnal and the spiritual, when the hero’s suicide becomes the only “deliverance” from the everyday life.
From 1927 to 1933, Bunin worked on his largest work, “The Life of Arsenyev.” In this “fictional autobiography,” the author reconstructs Russia’s past, his childhood and youth.
In 1933, Bunin was awarded Nobel Prize"for the true artistic talent with which he recreated in artistic prose typical Russian character."
By the end of the 30s, Bunin increasingly felt homesick; during the Great Patriotic War, he rejoiced at the successes and victories of the Soviet and allied troops. I greeted the victory with great joy.
During these years, Bunin created stories included in the collection “Dark Alleys”, stories only about love. The author considered this collection to be the most perfect in craftsmanship, especially the story “Clean Monday”.
In exile, Bunin constantly revised his already published works. Shortly before his death, he asked that his works be published only according to the latest author's edition.
Alexander Ivanovich Kuprin(1870-1938) – a talented writer of the early 20th century.
Kuprin was born in the village of Narovchatovo, Penza region, into the family of a clerical employee.
His fate is surprising and tragic: early orphanhood (his father died when the boy was one year old), continuous seventeen-year seclusion in government institutions (orphanage, military school, cadet corps, cadet school).
But gradually Kuprin’s dream matured of becoming “a poet or novelist.” Poems written by him at the age of 13-17 have been preserved. Years of military service in the provinces gave Kuprin the opportunity to learn the everyday life of the tsarist army, which he later described in many works. In the story “In the Darkness”, the stories “Psyche” and “On a Moonlit Night”, written during these years, artificial plots still predominate. One of the first works based on personally experienced and seen was a story from army life “From the Distant Past” (“Inquiry”) (1894)
With “Inquiry” begins a chain of works by Kuprin related to the life of the Russian army and gradually leading to the stories “Duel” “Overnight” (1897), “Night Shift” (1899), “Army Ensign” (1897), “Campaign” (1901) ) etc. In August 1894, Kuprin retired and went on a journey through the south of Russia. He unloads barges with watermelons on the Kyiv piers, and organizes an athletic society in Kyiv. In 1896, he worked for several months at one of the factories in Donbass, in Volyn he served as a forest inspector, an estate manager, a psalm-reader, was engaged in dentistry, played in a provincial troupe, worked as a land surveyor, and became close with circus performers. Kuprin's stock of observations is supplemented by persistent self-education and reading. It was during these years that Kuprin became a professional writer, gradually publishing his works in various newspapers.
In 1896, the story “Moloch” was published, based on Donetsk impressions. The main theme of this story - the theme of Russian capitalism, Moloch - sounded unusually new and significant. The author tried to express the idea of the inhumanity of the industrial revolution using allegory. Almost until the end of the story, the workers are shown as patient victims of Moloch; they are often compared to children. And the result of the story is logical - an explosion, a black wall of workers against the background of flames. These images were intended to convey the idea of popular rebellion. The story “Moloch” became a landmark work not only for Kuprin, but for all Russian literature.
In 1898, the story “Olesya” was published, one of the first works in which Kuprin appears to readers as a magnificent artist of love. The theme of beautiful, wild and majestic nature, which was previously close to him, is firmly included in the writer’s work. The tender, generous love of the forest “witch” Olesya is contrasted with the timidity and indecisiveness of her beloved, the “city” man.
In St. Petersburg magazines, Kuprin published the stories “Swamp” (1902), “Horse Thieves” (1903), “White Poodle” (1904) and others. In the heroes of these stories, the author admires perseverance, loyalty in friendship, incorruptible dignity ordinary people In 1905, the story “The Duel”, dedicated to M. Gorky, was published. Kuprin wrote to Gorky, “Everything bold and violent in my story belongs to you.”
Attention to all manifestations of living things, vigilance of observations are distinguished by Kuprin’s stories about animals “Emerald” (1906), “Starlings” (1906), “Zaviraika 7” (1906), “Yu-Yu”. About love that illuminates human life, Kuprin writes in the stories “Sulamith” (1908), “Pomegranate Bracelet” (1911), depicting the bright passion of the biblical beauty Sulamith and the tender, hopeless and selfless feeling of the little official Zheltkov.
The variety of subjects was suggested to Kuprin by his life experience. He rises in a hot air balloon, in 1910 he takes a flight on one of the first airplanes in Russia, studies diving and descends to the seabed, and is proud of his friendship with Balaklava fishermen. All this decorates the pages of his works with bright colors and a spirit of healthy romance. The heroes of Kuprin's novels and stories are people of various classes and social groups Tsarist Russia, starting from millionaire capitalists and ending with tramps and beggars. Kuprin wrote “about everyone and for everyone”...
The writer spent many years in exile. He paid heavily for this mistake in life - he paid with severe homesickness and creative decline.
“The more talented a person is, the more difficult it is for him without Russia,” he writes in one of his letters. However, in 1937 Kuprin returned to Moscow. He publishes the essay “Native Moscow”, and new creative plans are ripening for him. But Kuprin’s health was undermined, and in August 1938 he died.
2. Philosophy of love in the understanding of A. I. Kuprin
“Olesya” is the artist’s first truly original story, written boldly and in her own way. “Olesya” and the later story “River of Life” (1906) were considered by Kuprin to be among his best works. “Here is life, freshness,” the writer said, “the struggle with the old, outdated, impulses for the new, the better.”
“Olesya” is one of Kuprin’s most inspired stories about love, man and life. Here the world of intimate feelings and the beauty of nature are combined with everyday pictures of the rural outback, the romance of true love is combined with the cruel morals of the Perebrod peasants.
The writer introduces us to the atmosphere of harsh village life with poverty, ignorance, bribes, savagery, and drunkenness. The artist contrasts this world of evil and ignorance with another world of true harmony and beauty, painted just as realistically and fully. Moreover, it is the bright atmosphere of great true love that inspires the story, infecting with impulses “toward a new, better.” “Love is the brightest and most understandable reproduction of my Self. It is not in strength, not in dexterity, not in intelligence, not in talent... individuality is not expressed in creativity. But in love,” - so, clearly exaggerating, Kuprin wrote to his friend F. Batyushkov.
The writer was right about one thing: in love the whole person, his character, worldview, and structure of feelings are revealed. In the books of great Russian writers, love is inseparable from the rhythm of the era, from the breath of time. Starting with Pushkin, artists tested the character of their contemporary not only through social and political actions, but also through the sphere of his personal feelings. A true hero became not only a person - a fighter, activist, thinker, but also a person of great feelings, capable of deeply experiencing, loving with inspiration. Kuprin in “Oles” continues the humanistic line of Russian literature. He checks modern man- an intellectual of the end of the century - from the inside, to the highest degree.
The story is built on a comparison of two heroes, two natures, two world relations. On the one hand, Ivan Timofeevich is an educated intellectual, a representative of urban culture, and quite humane; on the other hand, Olesya is a “child of nature,” a person who has not been influenced by urban civilization. The balance of natures speaks for itself. Compared to Ivan Timofeevich, a man of a kind but weak, “lazy” heart, Olesya rises with nobility, integrity, and proud confidence in her strength.
If in his relationships with Yarmola and the village people Ivan Timofeevich looks brave, humane and noble, then in his interactions with Olesya the negative sides of his personality also appear. His feelings turn out to be timid, the movements of his soul are constrained and inconsistent. “Tearful expectation”, “subtle apprehension”, and the hero’s indecision highlight the wealth of soul, courage and freedom of Olesya.
Freely, without any special tricks, Kuprin draws the appearance of the Polesie beauty, forcing us to follow the richness of shades of her spiritual world, always original, sincere and deep. There are few books in Russian and world literature where such an earthly and poetic image of a girl living in harmony with nature and her feelings would appear. Olesya is Kuprin’s artistic discovery.
A true artistic instinct helped the writer reveal the beauty of the human personality, generously endowed by nature. Naivety and authority, femininity and proud independence, “flexible, agile mind”, “primitive and vivid imagination”, touching courage, delicacy and innate tact, involvement in the innermost secrets of nature and spiritual generosity - these qualities are highlighted by the writer, drawing the charming appearance of Olesya, an integral, original, free nature, which flashed as a rare gem in the surrounding darkness and ignorance.
Revealing the originality and talent of Olesya, Kuprin touched upon those mysterious phenomena of the human psyche that are being unraveled by science to this day. He speaks of the unrecognized powers of intuition, premonitions, and the wisdom of thousands of years of experience. Realistically comprehending Olesya’s “witchcraft” charms, the writer expressed the fair conviction “that Olesya had access to that unconscious, instinctive, foggy, strange knowledge obtained by chance experience, which, being centuries ahead of exact science, lives on, mixed with funny and wild beliefs, in the dark, closed masses of the people, passed on like the greatest secret from generation to generation.”
In the story, for the first time, Kuprin’s cherished thought is so fully expressed: a person can be beautiful if he develops, and not destroys, the physical, spiritual and intellectual abilities given to him by nature.
Subsequently, Kuprin will say that only with the triumph of freedom will a person in love be happy. In “Oles” the writer revealed this possible happiness of free, unfettered and unclouded love. In fact, the flowering of love and human personality constitutes the poetic core of the story.
The bright, fairy-tale atmosphere of the story does not fade even after the tragic ending. Over everything insignificant, petty and evil, true, great earthly love triumphs, which is remembered without bitterness - “easily and joyfully.” The final touch of the story is typical: a string of red beads on the corner of the window frame among the dirty disorder of a hastily abandoned “hut on chicken legs.” This detail gives compositional and semantic completeness to the work. A string of red beads is the last tribute to Olesya’s generous heart, the memory of “her tender, generous love.”
The cycle of works about love between 1908 and 1911 ends with “The Garnet Bracelet.” The creative history of the story is curious. Back in 1910, Kuprin wrote to Batyushkov: “Do you remember, this is the sad story of the little telegraph official P.P. Zheltkov, who was so hopelessly, touchingly and selflessly in love with Lyubimov’s wife (D.N. - now the governor in Vilno).” We find further decoding of the real facts and prototypes of the story in the memoirs of Lev Lyubimov (son of D.N. Lyubimov). In his book “In a Foreign Land,” he says that “Kuprin drew the outline of the “Garnet Bracelet” from their “family chronicle.” “Members of my family served as prototypes for some of the characters, in particular, for Prince Vasily Lvovich Shein - my father, with whom Kuprin was on friendly terms.” The prototype of the heroine - Princess Vera Nikolaevna Sheina - was Lyubimov's mother - Lyudmila Ivanovna, who, indeed, received anonymous letters, and then a garnet bracelet from a telegraph official who was hopelessly in love with her. As L. Lyubimov notes, it was “a curious case, most likely of an anecdotal nature.
Kuprin used an anecdotal story to create a story about real, great, selfless and selfless love, which “is repeated only once every thousand years.” Kuprin illuminated the “curious incident” with the light of his ideas about love as a great feeling, equal in inspiration, sublimity and purity only to great art.
In many ways, following the facts of life, Kuprin nevertheless gave them a different content, interpreted the events in his own way, introducing a tragic ending. Everything ended well in life, suicide did not happen. The dramatic ending, fictionalized by the writer, gave extraordinary strength and weight to Zheltkov’s feelings. His love conquered death and prejudice, it raised Princess Vera Sheina above the vain well-being, love sounded like the great music of Beethoven. It is no coincidence that the epigraph to the story is Beethoven's Second Sonata, the sounds of which are heard in the finale and serve as a hymn to pure and selfless love.
And yet “Garnet Bracelet” does not leave such a bright and inspired impression as “Olesya”. K. Paustovsky subtly noticed the special tone of the story, saying about it: “the bitter charm of the “Garnet Bracelet.” Indeed, “The Garnet Bracelet” is permeated with a lofty dream of love, but at the same time it contains a bitter, mournful thought about the inability of contemporaries to have great real feelings.
The bitterness of the story is also in Zheltkov’s tragic love. Love won, but it passed by as some kind of ethereal shadow, coming to life only in the memories and stories of the heroes. Perhaps too real - the everyday basis of the story got in the way author's intention. Perhaps Zheltkov’s prototype, his nature, did not carry within itself that joyfully majestic force that was necessary to create the apotheosis of love, the apotheosis of personality. After all, Zheltkov’s love concealed not only inspiration, but also inferiority associated with the limitations of the very personality of the telegraph official.
If for Olesya love is part of being, part of the multicolored world surrounding her, then for Zheltkov, on the contrary, the whole world narrows down to love, which he admits in his suicide letter to Princess Vera. “It happened,” he writes, “that I am not interested in anything in life: neither politics, nor science, nor philosophy, nor concern for the future happiness of people - for me, my whole life lies only in you.” For Zheltkov, there is only love for a single woman. It is quite natural that losing her becomes the end of his life. He has nothing left to live for. Love did not expand or deepen his connections with the world. As a result, the tragic ending, along with the hymn of love, also expressed another, no less important thought (although, perhaps, Kuprin himself was not aware of it): one cannot live by love alone.
3.The theme of love in the works of I. A. Bunin
In the theme of love, Bunin reveals himself as a man of amazing talent, a subtle psychologist who knows how to convey the state of the soul wounded by love. The writer does not avoid complex, frank topics, depicting the most intimate human experiences in his stories.
In 1924 he wrote the story “Mitya’s Love”, the following year - “The Case of Cornet Elagin” and “Sunstroke”. And in the late 30s and during the Second World War, Bunin created 38 short stories about love, which made up his book “Dark Alleys,” published in 1946. Bunin considered this book his “ the best work in the sense of conciseness, painting and literary skill.”
Love in Bunin’s depiction amazes not only with the power of artistic representation, but also with its subordination to some internal laws unknown to man. They rarely break through to the surface: most people will not experience their fatal effects until the end of their days. Such a depiction of love unexpectedly gives Bunin’s sober, “merciless” talent a romantic glow. The proximity of love and death, their conjugation were obvious facts for Bunin and were never subject to doubt. However, the catastrophic nature of existence, the fragility of human relationships and existence itself - all these favorite Bunin themes after the gigantic social cataclysms that shook Russia were filled with a new formidable meaning, as is, for example, seen in the story “Mitya’s Love”. “Love is beautiful” and “Love is doomed” - these concepts, having finally come together, coincided, carrying in the depths, in the grain of each story, the personal grief of Bunin the emigrant.
Bunin's love lyrics are not great in quantity. It reflects the poet's confused thoughts and feelings about the mystery of love... One of the main motives of love lyrics is loneliness, inaccessibility or impossibility of happiness. For example, “How bright, how elegant spring is!..”, “Calm gaze, like the gaze of a doe...”, “At a late hour we were in the field with her...”, “Loneliness”, “Sadness of eyelashes, shining and black...” and etc.
Bunin's love lyrics are passionate, sensual, saturated with a thirst for love and are always filled with tragedy, unfulfilled hopes, memories of past youth and lost love.
I.A. Bunin has a unique 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 always occupied an important place, and preference was given to spiritual, “platonic” love over sensuality, carnal, physical passion, which was often debunked. The purity of Turgenev's women became a household name. 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 physical. He did not have the concept of female sin, as in “Anna Karenina”, “War and Peace”, “The 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.
The works devoted to the theme of love and death (often touching in Bunin’s works) are “The Grammar of Love”, “Easy Breathing”, “Mitya’s Love”, “Caucasus”, “In Paris”, “Galya Ganskaya”, “Henry”, “Natalie”, ” Cold autumn”, etc. It has long been and very correctly noted that love in Bunin’s work is tragic. The writer is trying to unravel the mystery of love and the mystery of death, why they often come into contact in life, what is the meaning of this. Why does the nobleman Khvoshchinsky go crazy after the death of his beloved, the peasant woman Lushka, and then almost deifies her image (“Grammar of Love”). Why does the young high school student Olya Meshcherskaya, who, as it seemed to her, have an amazing gift, die, just starting to blossom? easy breathing"? The author does not answer these questions, but through his works he makes it clear that this has a certain meaning in earthly human life.
The heroes of “Dark Alleys” do not resist nature; often their actions are completely illogical and contradict generally accepted morality (an example of this is the sudden passion of the heroes in the story “Sunstroke”). Bunin’s love “on the brink” is almost transgressing the norm, going beyond the boundaries of everyday life. For Bunin, this immorality can even be said to be a certain sign of the authenticity of love, since ordinary morality turns out, like everything established by people, to be a conventional scheme into which the elements of natural, living life do not fit.
When describing risque details related to the body, the author must be impartial so as not to cross the fragile line that separates art from pornography. Bunin, on the contrary, worries too much - to the point of a spasm in her throat, to the point of passionate trembling: “... her eyes simply darkened at the sight of her pinkish body with a tan on her shiny shoulders... her eyes turned black and widened even more, her lips parted passionately "("Galya Ganskaya"). For Bunin, everything connected with gender 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 separation or death. The heroes revel in intimacy, but it leads to separation, death, and murder. Happiness cannot last forever. Natalie "died on Lake Geneva in premature birth." Galya Ganskaya was poisoned. In the story “Dark Alleys,” the master Nikolai Alekseevich abandons the peasant girl Nadezhda - for him this story is vulgar and ordinary, but 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 people at once, but did not find family happiness with either one. In the story “Henry” there is abundance female images for every taste. But the hero remains lonely and free from the “women of men.”
Bunin's love does not go into the family channel and is not resolved by a happy marriage. Bunin deprives his heroes of eternal happiness, deprives them because they get used to it, and habit leads to loss of love. Love out of habit cannot be better than lightning-fast but sincere love. The hero of the story “Dark Alleys” cannot tie himself into family ties with the peasant woman Nadezhda, but having married another woman from his circle, he does not find family happiness. The wife cheated, the son was a spendthrift and a scoundrel, the family itself turned out to be “the most ordinary vulgar story.” However, despite its short duration, love still remains eternal: it is eternal in the hero’s memory precisely because it is fleeting in life.
A distinctive feature of love in Bunin’s depiction is the combination of seemingly incompatible things. 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, tangled labyrinths of love.
True love is great happiness, even if it ends in separation, death, and tragedy. This conclusion, albeit late, is reached by many of Bunin’s heroes who have lost, overlooked, or destroyed their love themselves. In this late repentance, late spiritual resurrection, enlightenment of the heroes lies that all-purifying melody that speaks of the imperfection of people who have not yet learned to live. Recognize and value real feelings, and about the imperfections 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. Love is a mysterious element that transforms a person’s life, giving his destiny uniqueness against the background of ordinary everyday stories, filling his earthly existence with special meaning.
This mystery of existence becomes the theme Bunin's story“The Grammar of Love” (1915). The hero of the work, a certain Ivlev, having stopped on the way to the house of the recently deceased landowner Khvoshchinsky, reflects on “an incomprehensible love that turned an entire human life into some kind of ecstatic life, which, perhaps, should have been the most ordinary life,” if not for the strange charm of the maid Lushki. It seems to me that the mystery lies not in the appearance of Lushka, who “was not at all good-looking,” but in the character of the landowner himself, who idolized his beloved. “But what kind of person was this Khvoshchinsky? Crazy or just some dazed, focused soul?” According to neighboring landowners. Khvoshchinsky “was known in the district as a rare smart guy. And suddenly this love, this Lushka, fell upon him, then her unexpected death - and everything went to waste: he shut himself up in the house, in the room where Lushka lived and died, and sat on her bed for more than twenty years...” How can this twenty-year seclusion be called? Insanity? For Bunin, the answer to this question is not at all clear.
The fate of Khvoshchinsky strangely fascinates and worries Ivlev. He understands that Lushka entered his life forever, awakening in him “a complex feeling, similar to what he once experienced in an Italian town when looking at the relics of a saint.” What made Ivlev buy from the heir of Khvoshchinsky “for expensive price” a small book “The Grammar of Love”, which I never parted with old landowner, cherishing memories of Lushka? Ivlev would like to understand what the life of a madman in love was filled with, what he ate long years his orphaned soul. And following the hero of the story, the “grandchildren and great-grandsons” who have heard the “voluptuous legend about the hearts of those who loved,” and along with them the reader of Bunin’s work, will try to reveal the secret of this inexplicable feeling.
An attempt to understand the nature of love feelings by the author in the story “Sunstroke” (1925). “A strange adventure” shakes the lieutenant’s soul. Having parted with a beautiful stranger, he cannot find peace. At the thought of the impossibility of meeting this woman again, “he felt such pain and the uselessness of his entire future life without her that he was overcome by the horror of despair.” The author convinces the reader of the seriousness of the feelings experienced by the hero of the story. The lieutenant feels “terribly unhappy in this city.” "Where to go? What to do?" - he thinks lost. The depth of the hero’s spiritual insight is clearly expressed in the final phrase of the story: “The lieutenant was sitting under a canopy on the deck, feeling ten years older.” How to explain what happened to him? Maybe the hero came into contact with that great feeling that people call love, and the feeling of the impossibility of loss led him to realize the tragedy of existence?
Torment loving soul, the bitterness of loss, the sweet pain of memories - such unhealed wounds are left in the destinies of Bunin’s heroes by love, and time has no power over it.
It seems to me that the peculiarity of Bunin, the artist, is that he considers love to be a tragedy, a catastrophe, madness, a great feeling, capable of both infinitely elevating and destroying a person.
4.Image of love in the works of modern authors.
The theme of love is one of the most important themes in modern Russian literature. Much has changed in our lives, but man with his boundless desire to find love and penetrate its secrets remains the same.
In the 90s of the twentieth century, the totalitarian regime was replaced by a new democratic government that declared freedom of speech. Against the background of this, the sexual revolution somehow naturally and not too noticeably took place. A feminist movement also appeared in Russia. All this led to the emergence in modern literature so-called "women's prose". Women writers mainly address what most concerns readers, i.e. to the theme of love. The first place comes " women's novels" - sugary-sentimental melodramas of the "women's series" According to literary critic V.G. Ivanitsky, "women's novels" are fairy tales repainted in modern colors and moved into modern settings. They have an epic, pseudo-folklore nature, as smoothed out and simplified as possible. That's what's in demand! This literature is built on proven clichés, traditional cliches and stereotypes of “femininity” and “masculinity” - stereotypes that are so hateful to any person with taste.”
In addition to this low-quality literary production, which is undoubtedly the influence of the West, there are wonderful and brilliant authors who write serious and deep works about love.
Lyudmila Ulitskaya belongs to a family with its own traditions, with its own history. Both of her great-grandfathers, Jewish artisans, were watchmakers and were subjected to pogroms more than once. Watchmakers - artisans - gave their children an education. One grandfather graduated from Moscow University in 1917, Faculty of Law. Another grandfather - Commercial School, Conservatory, served 17 years in camps in several stages. He wrote two books: on demography and music theory. He died in exile in 1955. Parents were research assistants. L. Ulitskaya followed in their footsteps and graduated from the Faculty of Biology of Moscow State University with a degree in biology and genetics. She worked at the Institute of General Genetics, committed a crime before the KGB - she read and reprinted some books. This was the end of his scientific career.
She wrote her first story, “Poor Relatives,” in 1989. She cared for her sick mother, gave birth to sons, and worked as a director at the Jewish Theater. She wrote the stories “Sonechka” in 1992, “Medea and Her Children”, “Merry Funeral”, in recent years she has become one of the brightest phenomena modern prose, attracting both the reader and critics.
"Medea and her children"- family chronicle. The story of Medea and her sister Alexandra, who seduced Medea’s husband and gave birth to his daughter Nina, is repeated in the next generation, when Nina and her niece Masha fall in love with the same man, which ultimately leads Masha to commit suicide. Are children responsible for the sins of their fathers? In one of her interviews, L. Ulitskaya speaks about the understanding of love in modern society:
“Love, betrayal, jealousy, suicide for love reasons - all these things are as ancient as man himself. They are truly human actions, - animals, as far as I know, do not commit suicide because of unhappy love; in extreme cases, they will tear apart their rival. But every time has generally accepted reactions - from confinement in a monastery to a duel, from stoning to ordinary divorce.
People who grew up after the great sexual revolution sometimes think that everything can be agreed upon, prejudices can be abandoned, and outdated rules can be despised. And within the framework of mutually granted sexual freedom, save the marriage and raise children.
I have met several such unions in my life. I suspect that in such contractual relationships, one of the spouses is still the secretly suffering party, but has no choice but to accept the proposed conditions. As a rule, such contractual relationships sooner or later fall apart. And not every psyche can withstand what “an enlightened mind agrees to”
Anna Matveeva– born in 1972 in Sverdlovsk. She graduated from the Faculty of Journalism of USU.. But, despite her youth, Matveeva is already a famous prose writer and essayist. Her story “Dyatlov Pass” reached the finals of the Ivan Petrovich Belkin Literary Prize. The story “St. Helena Island,” included in this collection, was awarded the international literary prize “Lo Stellato” in 2004, which is awarded in Italy for the best story.
She worked at Oblastnaya Gazeta, as a press secretary (Gold - Platinum - Bank).
She won the Cosmopolitan magazine short story competition twice (1997, 1998). She has published several books. She has been published in the magazines “Ural” and “New World”. Lives in the city of Yekaterinburg.
Matveeva’s stories, one way or another, are built around the “female” theme. Judging by external parameters, it seems that the author’s attitude to this issue is skeptical. Her heroines are young women with a masculine mentality, strong-willed, independent, but, alas, unhappy in their personal lives.
Matveeva writes about love. “And it presents the plot, not in some metaphorical or metaphysical way, but one to one, without shunning elements of melodrama. She is always curious to compare her rivals - how they look, how they dress. It is also interesting to evaluate the subject of rivalry, and with a woman’s eye rather than a writer’s eye. In her stories, it often happens that people who are well acquainted meet after passing the first distance in life - from youth to youth. Here the author is interested in who succeeded and who became a failure. Who has “aged” and who not so much, who has acquired a marketable appearance, and who, on the contrary, has declined. It seems that all of Matveeva’s heroes are her former classmates, whom she “meets” in her own prose.”
Another characteristic feature. Anna Matveeva’s heroes differ from the traditional “little people” of compassionate Russian prose in that they are not poor at all, but, on the contrary, earn money and lead a corresponding lifestyle. And since the author is precise in details (expensive clothing lines, tour attractions), the texts acquire a certain glossiness
However, in the absence of “professional rightness,” Anna Matveeva’s prose has the rightness of naturalness. In fact, melodrama is very difficult to write; you can’t achieve anything with hard work: you need to have a special gift for storytelling, the ability to “revive” the hero and then properly provoke him. The young writer fully possesses such a bouquet of abilities. The little story “Pas de Trois”, which gave the name to the whole book, is clean water melodrama.
The heroine named Katya Shirokova, one of the performers of the pas de trois against the backdrop of Italian antiquities and modern landscapes, soars in the sky of her love for a married man. It was no coincidence that she ended up in the same tour group as her chosen one, Misha Idolov and his wife Nina. Expectation of an easy and final victory over the old one - she is already 35! - the wife should end in Rome, the beloved city - with daddy's money. In general, A. Matveeva’s heroes do not know material problems. If they get tired of their native industrial landscape, they immediately leave for some foreign country. Sit in the Tuileries - “on a thin chair, which rests its feet on the sand, lined with pigeon feet” - or take a walk in Madrid, or even better (poor Katya’s option, defeated from his old wife) - give up on Capri, live there for a month - another.
Katya, she is a nice—by definition of a rival—an intelligent girl, and also a future art critic, who continually pesters dear Misha with her erudition. (“I also really want to show you the Baths of Caracalla.” - “Caracal what?”). But the dust shaken out of the old books into the young head did not bury the natural mind. Katya is able to learn and understand people. She also copes with the difficult situation into which she found herself due to the selfishness of her youth and lack of parental love. Despite all her material well-being, in the spiritual sense Katya, like many children of the new Russians, is an orphan. She is exactly that fish soaring in the sky. Misha Idolov “gave her what her mother and father had denied her. Warmth, admiration, respect, friendship. And only then – love.”
However, she decides to leave Misha. “You are so much better than me, and him, by the way, too, that it would be wrong...” - “How long ago have you begun to evaluate actions from this point of view?” - Nina mimicked.
“When I have children,” Katya thought, lying in the bed of the Pantalon Hotel, “it doesn’t matter whether they are a boy or a girl, I will love them. It is so simple".
In someone else's husband she looks for a father, and in his wife she finds, if not a mother, then an older friend. Although, as it turns out, Nina at her age also contributed to the destruction of Katya’s family. Alexey Petrovich, Katya's father, is her first lover. “My daughter, thought Nina, will soon become an adult, she will definitely meet married man, will love him, and who can guarantee that this man will not turn out to be Katya Shirokova’s husband?.. However, this is not the worst option...”
The nice girl Katya becomes an unexpected and therefore more effective instrument of retribution. She refuses the Idol, but her impulse (equally noble and selfish) no longer saves anything. “Looking at her, Nina suddenly felt that she didn’t need Misha Idolov now - even in the name of Dashka. She will not be able to sit next to him as before, hug him awake, and a thousand more time-forged rituals will never happen again. The fast-paced tarantella ends, the last chords sound, and the trio, united by common days, breaks up for bright solo performances.”
“Pas de Trois” is a small elegant story about the education of feelings. All her heroes are quite young and recognizably modern new Russian people. Its novelty lies in the emotional tone in which decisions are made eternal problems love triangle. No exaltation, no tragedies, everything is everyday - businesslike, rational. One way or another, you have to live, work, give birth and raise children. And don’t expect holidays and gifts from life. Moreover, they can be bought. Like a trip to Rome or Paris. But sadness about love - humbly - muffled - still sounds in the ending of the story. Love that constantly happens, despite the stubborn opposition of the world. After all, for him, both today and yesterday, she is a kind of surplus, only a brief and sufficient flash for the birth of a new life. The quantum nature of love resists being turned into a constant and convenient source of warmth.”
If in the story the truth of everyday life, the usual low truths, triumphs, then in the stories - elevating deception. Already the first of them - “Supertanya”, playing on the names of Pushkin’s heroes, where Lensky (Vova), naturally, dies, and Evgeny, as it should, at first rejects the married girl in love - ends with the victory of love. Tatyana waits for the death of her rich and cool, but unloved husband and unites with her dear Eugenik. The story sounds ironic and sad, like a fairy tale. “Eugenik and Tanya seem to have disappeared into the damp air of the great city, their traces disappear in St. Petersburg courtyards, and only Larina, they say, has their address, but rest assured, she will not tell it to anyone...”
Light irony, gentle humor, a condescending attitude towards human weaknesses and shortcomings, the ability to compensate for the discomfort of everyday existence through the efforts of the mind and heart - all this, of course, attracts and will attract the widest reader. Anna Matveeva was initially not a guild writer, although today’s literature exists mainly thanks to such fiction writers who are briefly tied to their time. The problem, of course, is that its potential mass reader does not buy books today. Those who read romance portable novels in paperbacks do not live up to Matveeva’s prose. They need a rougher drug. The stories that Matveeva tells have happened before, are happening now and will always happen. People will always fall in love, cheat, and be jealous.
III.Conclusion
Analyzing the works of Bunin and Kuprin, as well as modern authors - L. Ulitskaya and A. Matveeva, I came to the following conclusions.
Love in Russian literature is portrayed as one of the main human values. According to Kuprin, “individuality is not expressed in strength, not in dexterity, not in intelligence, not in creativity. But in love!
Extraordinary strength and sincerity of feeling are characteristic of the heroes of the stories of Bunin and Kuprin. Love seems to say: “Where I stand, it cannot be dirty.” The natural fusion of the frankly sensual and the ideal creates an artistic impression: the spirit penetrates the flesh and ennobles it. This, in my opinion, is the philosophy of love in the true sense.
The creativity of both Bunin and Kuprin is attracted by their love of life, humanism, love and compassion for people. Convexity of the image, simple and clear language, precise and subtle drawing, lack of edification, psychologism of the characters - all this brings them closer to the best classical tradition in Russian literature.
L. Ulitskaya and A. Matveeva - masters of modern prose - also
alien to didactic straightforwardness, their stories and stories contain a pedagogical charge that is so rare in modern fiction. They remind not so much of the fact that “know how to cherish love”, but of the complexity of life in a world of freedom and seeming permissiveness. This life requires great wisdom, the ability to look at things soberly. It also requires greater psychological security. The stories that modern authors have told us about are certainly immoral, but the material is presented without disgusting naturalism. Emphasis on psychology rather than physiology. This involuntarily reminds us of the traditions of great Russian literature.
Literature
1. Agenosov V.V. Russian literature of the twentieth century. - M.: Drofa, 1997.
2.Bunin I.A. Poems. Stories. Stories. - M.: Bustard: Veche, 2002.
3Ivanitsky V.G. From women's literature to the “women's novel.” - Social Sciences and Modernity No. 4, 2000.
4.Krutikova.L.V.A. I. Kuprin. - Leningrad., 1971.
5. Kuprin A.I. Stories. Stories. – M.: Bustard: Veche, 2002.
6.Matveeva A Pa – de – trois. Stories. Stories. – Ekaterinburg, “U-Factoria”, 2001.
8. Slavnikova O.K. Forbidden Fruit - New World No. 3, 2002. .
9. Slivitskaya O.V. On the nature of Bunin’s “external depiction”. – Russian literature No. 1, 1994.
10Shcheglova E.N. L. Ulitskaya and her world. - Neva No. 7, 2003 (p. 183-188)
Love in reasoning has limitless meaning. Many people express it in their own way. The skill of transformation excites the mind. What are the transitions and expressions of Kuprin and Bunin’s feelings in their works. The beauty of the word, bewitching at once, permeates the lines of such famous works, like “Garnet Bracelet” and “Dark Alleys”.
Both poets characterize love as a sacrificial, light, evaporating, floating and vulnerable feeling “from the word of an evil tongue and the depravity of speech.” The main characters of the works experience the feelings of their creators, they are the embodiment of lonely and unbridled love, the frantic power of attraction and rejection, unquestioning decisions, madness and at the same time lightness. What is love according to Kuprin and Bunin? And what is their role?
Many poets of the 18-19 centuries of Golden Rus', such as Pushkin, M.V. Lermontov and other poets of that time built a similar meaning of the embodiment of the white bird of love, hope and calmness.
The reminder of this “caste of poets” is not accidental. Because for many years greatest poets Russian poetry and lyricists tried to build a certain algorithm for the manifestation of love in their works, no matter how rude it may sound. Kuprin and Bunin were not afraid of showing unbridled love and exposing it to the public; without any restrictions, the reader accepts this feeling and experiences it together with the poet and the heroes of the works. The theme of love in the works of Bunin and Kuprin has 3 aspects in its style:
- Exemplary import
- Theoretically-textured
- Allegorical-mathematical;
Each of these aspects is connected by one similar thing - they all have a single goal in their own way, they connect the unique feeling of love in the work with a feeling of sacrifice, affection, warmth of penetration. But there are also differences between the styles of manifestation of love and its passage through the reader. To understand this, let's remember Kuprin's work "The Garnet Bracelet" where the heroine realizes that she missed the feeling of love. And Kuprin’s tough love, from which the hero suffers, sacrifices himself, but remains completely true to his feeling, never gives up his position and tries to analyze the aspect of his passion, the object is always elevated to the heart, the strategic position of courier and arthropy in the allegorical description.
In Bunin, the superficial theme of love is revealed in the same way as in Kuprin, but the inner meaning is not revealed in the same way as in the heroes of “Kuprin Stories”. Windy sensuality and unlimitedness can be seen in almost every work. But “Dark Alleys” is a kind of exception to the theme of manifestations of love.
It seems that the poet is trying to show both the light and dark sides of the manifestation of “love fun”. In some places the theme of love touches the reader’s soul, and in others it touches the body. For Bunin and Kuprin, it was important that their heroes and readers felt the torment of sacrificial love not only in their souls, but also in their bodies. To make this whole feeling seem similar in our time. Therefore, the manifestation of love in the works of both authors is still a relevant topic to this day.
“Love is the same as before: sacrificial, prosaic, tragic, real, imbued with anxiety and emotions, heartbreaking magic of body and soul. And lying has a happy ending,” said the 19th century Russian publicist Arsentiy Gudelman Banshtorden. It was the theme of love between Kuprin and Bunin in prose and lyric poetry that helped a person gain an understanding of that time, to feel the hero through and through, the feelings tearing apart both body and soul.
“The equality of feelings of allegorical love and their tender care, feelings of unreliability, anxiety and childish impressionability, loss, separation and restoration again,” is the love expression of Kuprin and Bunin. “Percurte adre as ad aspra” - the passage of love like light is the truth of the works of these greatest Russian lyric writers.