The main themes and problems of AI Kuprin's creativity. Love is one of the eternal themes of literature. The eternal theme in kuprin

Every person has experienced love at least once in his life - whether it is love for a mother or father, a man or a woman, his child or a friend. Thanks to this all-consuming feeling, people become kinder, sincere. The theme of love is touched upon in the works of many great writers and poets, it was she who inspired them to create their immortal works.

The great Russian writer A. I. Kuprin wrote a number of works in which he sang pure, ideal, sublime love. Under the pen of A.I. Kuprin

Such wonderful works as stories were born Garnet bracelet”, “Shulamith”, “Olesya”, “Duel” and many others that are dedicated to this bright feeling. In these works, the writer showed love of a different nature and different people, but its essence is unchanged - it is limitless.

In the story "Olesya", written by A.I. Kuprin in 1898, the all-consuming love of Olesya, a girl from a remote Polissya village, for the master Ivan Timofeevich is shown. While hunting, Ivan Timofeevich meets Olesya, the granddaughter of the witch Manuilikha. The girl fascinates him with her beauty, delights with pride and self-confidence. And Ivan Timofeevich attracts Olesya with his kindness and intelligence. The main characters fall in love with each other, completely surrendering to their feelings.

Olesya in love shows her best qualities- sensitivity, delicacy, observation, innate intelligence and subconscious knowledge of life's secrets. For the sake of her love, she is ready for anything. But this feeling made Olesya defenseless, leading her to death. In comparison with Olesya's love, Ivan Timofeevich's feeling for her is more like a fleeting attraction.

Offering a girl a hand and a heart, main character implies that Olesya, who cannot live away from nature, will move to him in the city. Vanya does not even think of abandoning civilization for the sake of Olesya. He turned out to be weak, resigned to the circumstances and did not take any action to be with his beloved.
In the story "Garnet Bracelet" love is presented as an unrequited, disinterested, romantic feeling experienced by the main character Zheltkov, a petty employee, for Princess Vera Nikolaevna Sheina.

The meaning of Zheltkov's life was his letters to his beloved woman, full of pure, selfless love. Husband of the princess, just and kind person, sympathizes with Zheltkov and, discarding all prejudices, shows respect for his feelings. However, Zheltkov, realizing the unfulfillment of his dream and having lost all hope for reciprocity, commits suicide.

At the same time, even in last minutes his life he thinks only of his beloved. And only after the death of the main character does Vera Nikolaevna realize that "the love that every woman dreams of has passed her by." This work is deeply tragic and speaks of how important it is to understand the love of another person in time and reciprocate.

In his works, A.I. Kuprin demonstrated love as a sincere, devoted and disinterested feeling. This feeling is the dream of every person, for which everything can be sacrificed. This is eternal all-conquering love, which will make people happy and kind, and the world wonderful.

1. A word about the work of A. I. Kuprin.

2. Main themes and let's go creativity:

a) "Moloch" - an image of bourgeois society;

b) the image of the army ("Night shift", "Campaign", "Duel");

c) conflict romantic hero with everyday reality ("Olesya");

d) the theme of the harmony of nature, the beauty of man ("Emerald", "White Poodle", "Dog's Happiness", "Shulamith");

e) the theme of love ("Garnet bracelet").

3. The spiritual atmosphere of the era.

1. The work of A. I. Kuprin is peculiar and interesting, it strikes the author's observational ability and the amazing plausibility with which he describes people's lives. As a realist writer, Kuprin carefully peers into life and highlights the main, essential aspects in it.

2. a) This gave Kuprin the opportunity to create in 1896 a major work "Moloch", dedicated to the most important topic of the capitalist development of Russia. Truthfully and without embellishment, the writer depicted the true face of bourgeois civilization. In this work, he denounces hypocritical morality, corruption and falsehood in relations between people in a capitalist society.

Kuprin shows a large factory where the workers are brutally exploited. The main character, engineer Bobrov, an honest, humane person, is shocked and outraged by this terrible picture. At the same time, the author depicts the workers as an uncomplaining crowd, powerless to take any active action. In Moloch, motifs were outlined that are characteristic of all subsequent work of Kuprin. Images of humanist truth-seekers will pass in a long line in many of his works. These heroes yearn for the beauty of life, rejecting the ugly bourgeois reality of their time.

b) Pages full of great revealing power were dedicated by Kuprin to the description of the tsarist army. The army was the stronghold of the autocracy, against which all the progressive forces of Russian society rose up in those years. That is why Kuprin's works "Night Shift", "Campaign", and then "Duel" had a great public impact. The tsarist army, with its mediocre, morally degenerated command, appears on the pages of "Duel" in all its unsightly appearance. Before us is a whole gallery of stupid and geeks, devoid of any glimmer of humanity. They are opposed by the main character of the story, lieutenant Romashov. He wholeheartedly protests against this nightmare, but is unable to find a way to overcome it. Hence the name of the story - "Duel". The theme of the story is the drama of the "little man", his duel with an ignorant environment, which ends with the death of the hero.

c) But not in all his works Kuprin adheres to the framework of a strictly realistic direction. There are also romantic tendencies in his stories. He places romantic heroes in everyday life, in a real environment, next to ordinary people. And very often, therefore, the main conflict in his works becomes the conflict of a romantic hero with everyday life, dullness, and vulgarity.

In the wonderful story "Olesya", imbued with genuine humanism, Kuprin sings of people living in the midst of nature, untouched by money-grubbing and corrupting bourgeois civilization. Against the backdrop of wild, majestic, beautiful nature live strong, original people - "children of nature". Such is Olesya, who is as simple, natural and beautiful as nature itself. The author clearly romanticizes the image of the “daughter of the forests”. But her behavior, psychologically subtly motivated, allows you to see the real prospects of life. Endowed with unprecedented strength, the soul brings harmony into the obviously contradictory relations of people. Such a rare gift is expressed in love for Ivan Timofeevich. Olesya, as it were, returns the naturalness of experiences that he had briefly lost. Thus, the story describes the love of a realist person and romantic heroine. Ivan Timofeevich falls into the romantic world of the heroine, and she - into his reality.

d) The theme of nature and man worries Kuprin throughout his life. The power and beauty of nature, animals as an integral part of nature, a person who has not lost touch with it, living according to its laws - these are the facets of this topic. Kuprin admires the beauty of the horse ("Emerald"), the fidelity of the dog ("White Poodle", "Dog's Happiness"), female youth ("Shulamith"). Kuprin sings of the beautiful, harmonious, living world of nature.

e) Only where a person lives in harmony with nature, love is beautiful and natural. In the artificial life of people, love, true love, which happens once in a hundred years, turns out to be unrecognized, misunderstood and persecuted. In The Pomegranate Bracelet, the poor official Zheltkov is endowed with this gift of love. Great love becomes the meaning and content of his life. The heroine - Princess Vera Sheina - not only does not respond to his feelings, but also perceives his letters, a gift - a garnet bracelet - as something unnecessary, disturbing her peace, her usual way of life. Only after Zheltkov's death does she realize that "the love that every woman dreams of" has passed by. Mutual, perfect love did not take place, but this high and poetic feeling, even if concentrated in one soul, opens the way to a beautiful rebirth of another. Here the author shows love as a phenomenon of life, as an unexpected gift - poetic, illuminating life in the midst of everyday life, sober reality and sustainable life.

3. Thinking about the individuality of the hero, his place among others, about the fate of Russia in a time of crisis, at the turn of two centuries, Kuprin studied the spiritual atmosphere of the era, portrayed "living pictures" of the environment.

3. Poetry of Russian symbolism (on the example of the work of one poet)

SYMBOLISM -

the first literary and artistic direction of European modernism, which arose at the end of the 19th century in France in connection with the crisis of the positivist artistic ideology of naturalism. The foundations of the aesthetics of symbolism were laid by Paul Verlaine, Arthur Rimbaud, Stefan Mallarmé.

Symbolism was associated with contemporary idealistic philosophical currents, the basis of which was the idea of ​​two worlds - the apparent world of everyday reality and the transcendent world of true values ​​(compare: absolute idealism). In accordance with this, symbolism is engaged in the search for a higher reality that is beyond sensory perception. Here the poetic symbol turns out to be the most effective tool of creativity, allowing one to break through the veil of everyday life to transcendent Beauty.

The most general doctrine of symbolism was that art is an intuitive comprehension of world unity through the discovery of symbolic analogies between the earthly and the transcendental worlds (compare: the semantics of possible worlds).

Thus, the philosophical ideology of symbolism is always Platonism in the broadest sense, two worlds, and aesthetic ideology- panaestheticism (compare: "The Picture of Dorian Gray" by Oscar Wilde).

Russian symbolism began at the turn of the century, absorbing the philosophy of the Russian thinker and poet Vladimir Sergeevich Solovyov about the Soul of the World, Eternal Femininity, Beauty that will save the world (this mythology is taken from Dostoevsky's novel "The Idiot").

Russian symbolists are traditionally divided into "senior" and "junior".

The elders - they were also called decadents - D.S. Merezhkovsky, Z.N. Gippius, V.Ya. Bryusov, K.D. Balmont, F.K. Sologub reflected in his work the features of pan-European pan-aestheticism.

The younger symbolists - Alexander Blok, Andrei Bely, Vyacheslav Ivanov, Innokenty Annensky - in addition to aestheticism, embodied in their work the aesthetic utopia of the search for the mystical Eternal Femininity.

For Russian symbolism, the phenomenon of life-building is especially characteristic (see biography), erasing the boundaries between text and reality, living life as a text. The Symbolists were the first in Russian culture to build the concept of intertext. In their work, the notion of the Text with a capital letter generally plays a decisive role.

Symbolism did not perceive the text as a reflection of reality. For him it was the opposite. Properties artistic text attributed to reality itself. The world was presented as a hierarchy of texts. In an effort to recreate the Text-Myth located at the top of the world, the Symbolists interpret this Text as a global myth about the world. Such a hierarchy of world-texts was created with the help of the poetics of quotations and reminiscences, that is, the poetics of neomythologism, also first applied in Russian culture by the symbolists.

We will briefly show the features of Russian symbolism on the example of the poetry of its outstanding representative Alexander Alexandrovich Blok.

Blok came to literature under the direct influence of the works of Vladimir Solovyov. His early "Poems about the Beautiful Lady" directly reflect the ideology of the Soloviev-colored dual world, the search for the female ideal, which is impossible to achieve. The heroine of Blok's early poems, projected onto the image of the poet's wife Lyubov Dmitrievna Mendeleeva, appears in the form of a vague image of the Eternal Femininity, the Princess, the Bride, the Virgin. The poet's love for the Beautiful Lady is not only platonic and colored with features of medieval courtliness, which was most evident in the drama "The Rose and the Cross", but it is something more than just love in the ordinary sense - it is a kind of mystical search for the Deity under the cover of the erotic start.

Since the world is doubled, the appearance of the Beautiful Lady can only be sought in the correspondences and analogies provided by the symbolist ideology. The very appearance of the Beautiful Lady, if one sees it, is not clear whether it is a genuine appearance or a false one, and if it is genuine, then whether it will change under the influence of the vulgar atmosphere of earthly perception - and this is the most terrible thing for the poet:

I anticipate you. The years are passing by

All in the guise of one I foresee You.

The whole horizon is on fire - and unbearably clear,

And silently I wait - longing and loving.

The whole horizon is on fire, and the appearance is near,

But I'm afraid: you will change your appearance,

And daringly arouse suspicion,

Replacing the usual features at the end.

In essence, this is exactly what happens in the further development of Blok's lyrics. But first, a few words about the compositional structure of his poetry as a whole. In his mature years, the poet divided the entire corpus of his poems into three volumes. It was something like the Hegelian triad: thesis, antithesis, synthesis. The thesis was the first volume - "Poems about the Beautiful Lady". Antithesis - the second. This is the otherness of the heroine, who descended to earth and is about to "change her appearance."

She appears among the vulgar restaurant fuss in the form of a beautiful Stranger.

And slowly, passing among the drunk,

Always without companions, alone,

Breathing in spirits and mists,

She sits by the window.

And breathe ancient beliefs

Her elastic silks

And a hat with mourning feathers

And in the rings a narrow hand.

And chained by a strange closeness,

I look behind the dark veil,

And I see the enchanted shore

And the enchanted distance.

In the future, the worst happens: the poet is disappointed in the very idea of ​​\u200b\u200bPlatonic love - the search for an ideal. This is especially evident in the poem "Over the Lake" from the cycle "Free Thoughts". The poet stands in the cemetery over the evening lake and sees a beautiful girl who, as usual, seems to him a beautiful stranger, Tekla, as he calls her. She is all alone, but some vulgar officer "with a wobbling backside and legs, / Wrapped in trouser tubes" is walking towards her. The poet is sure that the stranger will drive away the vulgar, but it turns out that this is just her husband:

He came up ... he shakes her hand! .. look

His peepers in clear eyes! ..

I even moved out from behind the crypt...

And suddenly... he smacks her lingeringly,

Gives her a hand and leads to the dacha!

I want! I run up. I'm throwing

In them, cones, sand, squeal, dance

Among the graves - invisible and high ...

I shout "Hey, Fekla, Fekla!" ...

So, Tekla turns into Thekla, and this, in essence, ends the negative part of the poet's sobering up from Solovyov's mysticism. The last complex of his lyrics is "Carmen", and the last parting with the "former" Beautiful Lady is the poem "The Nightingale Garden". Then follows a catastrophe - a series of revolutions, to which Blok responds with the brilliant poem "The Twelve", which is both the apotheosis and the end of Russian symbolism. Blok died in 1921, when his heirs, representatives of Russian acmeism, spoke about themselves already in full voice.

4. Poetry of Russian acmeism (on the example of the work of one poet)

ACMEISM -

(ancient Greek akme - the highest degree of flourishing, maturity) is a direction of Russian modernism that was formed in the 1910s and in its poetic attitudes is based on its teacher, Russian symbolism.

The acmeists, who were part of the "Workshop of Poets" association (Anna Akhmatova, Nikolai Gumilyov, Osip Mandelstam, Mikhail Kuzmin, Sergey Gorodetsky), were "overcoming symbolism", as they were called in the article of the same name by the critic and philologist, the future academician V.M. Zhirmunsky. Acmeism contrasted the transcendental two-worldliness of the Symbolists with the world of simple everyday feelings and everyday spiritual manifestations. Therefore, the Acmeists also called themselves "Adamists", representing themselves as the first man Adam, "a naked man on bare earth." Akhmatova wrote:

I don't need odic ratis

And the charm of elegiac undertakings.

For me, in poetry everything should be out of place,

Not like people do.

When would you know from what rubbish

Poems grow, not knowing shame,

Like a yellow dandelion by the fence

Like burdock and quinoa.

But the simplicity of acmeism from the very beginning was not the healthy sanguine simplicity that is found in rural people. It was an exquisite and undeniably autistic (see autistic consciousness, characterology) simplicity of the outer veil of verse, behind which lay the depths of intense cultural searches.

Akhmatova again:

So helplessly my chest went cold,

But my steps were light

I'm on right hand put on

Left hand glove.

An erroneous gesture, an "erroneous action," to use Freud's psychoanalytic terminology from his book The Psychopathology of Everyday Life, which was already published in Russia at that time, conveys a strong inner experience. It can be conditionally said that all of Akhmatova's early poetry is a "psychopathology of everyday life":

I've lost my mind, oh strange boy

Wednesday at three o'clock!

Pricked ring finger

A ringing wasp for me.

I accidentally pressed her

And she seemed to die

But the end of the poisoned sting

Was sharper than the spindle.

Salvation from habitually unhappy love in one thing - creativity. Perhaps the best verses of acmeism are verses about verses, which the researcher of acmeism Roman Timenchik called auto-meta-description:

When I wait for her arrival at night,

Life seems to hang by a thread.

What honors, what youth, what freedom

In front of a nice guest with a pipe in her hand.

And so she entered. Throwing back the cover

She looked at me carefully.

I say to her: "Did you dictate to Dantu

Pages of Hell?" Answers: "Me".

The initially restrained, "clarified" (that is, proclaiming clarity) poetics of acmeism was also true to the great Russian poet of the twentieth century, Mandelstam. Already the first poem of his famous "Stone" speaks of this:

The sound is wary and muffled

The fruit that fell from the tree

In the midst of the silent chant

Deep silence of the forest...

The laconicism of this poem makes researchers recall the poetics of Japanese haiku (three lines) belonging to the Zen tradition (see Zen thinking) - external colorlessness, behind which lies a tense inner experience:

On a bare branch

Raven sits alone...

Autumn evening!

So it is with Mandelstam in the cited poem. It seems that this is just a household sketch. In fact, we are talking about an apple that fell from the tree of the knowledge of good and evil, that is, about the beginning of history, the beginning of the world (which is why the poem is the first in the collection). At the same time, it can be Newton's apple - the apple of discovery, that is, again, the beginning. The image of silence plays a very important role - it refers to Tyutchev and the poetics of Russian romanticism with its cult of the inexpressibility of feelings in words.

The second poem "Stone" also refers to Tyutchev. Strings

Oh, my sadness,

Oh my quiet freedom

resonate with Tyutchev's lines: O my prophetic soul!

O heart full of anxiety!

Gradually, the poetics of acmeism, especially its two main representatives, Akhmatova and Mandelstam, becomes extremely complicated. The biggest and famous work Akhmatova's "Poem Without a Hero" is built like a casket with a double bottom - the riddles of this text are still being solved by many commentators.

The same thing happened to Mandelstam: the overabundance of cultural information and the peculiarity of the poet's talent made his mature poetry the most complex in the 20th century, so complex that sometimes researchers in a separate work analyzed not the whole poem, but only one line of it. With the same analysis, we will finish our essay on acmeism. We will talk about a line from the poem "Swallow" (1920):

An empty boat floats in a dry river.

G.S. Pomeranz believes that this line should be understood as deliberately absurd, in the spirit of a Zen koan. It seems to us that, on the contrary, it is overloaded with meaning. Firstly, the word "shuttle" is found in Mandelstam two more times and both times in the meaning of part of the loom ("The shuttle is spinning, the spindle is buzzing"). For Mandelstam, the contextual meanings of words are extremely important, as studies of the school of Professor K.F. Taranovsky, who specialized in the study of the poetics of acmeism.

The shuttle, thus, moves across the river, crosses the river. Where is he sailing? This suggests the context of the poem itself:

I forgot what I wanted to say.

The blind swallow will return to the hall of shadows.

"The Hall of Shadows" is the realm of shadows, the realm of the dead Hades. The empty, dead boat of Charon (shuttle) floats to the "chamber of shadows" along the dry river of the dead Styx. This is an ancient interpretation.

There may be an Eastern interpretation: emptiness is one of the most important concepts of Tao philosophy. Tao is empty because it is the receptacle of everything, wrote Lao Tzu in the Tao Te Ching. Chuang Tzu said: "Where can I find a person who has forgotten all the words to talk to him?" Hence, the forgetfulness of the word can be seen not as something tragic, but as a break with the European tradition of speaking and falling into the Oriental, as well as the traditional romantic concept of silence.

A psychoanalytic interpretation is also possible. Then forgetfulness of the word will be associated with poetic impotence, and an empty canoe in a dry river with a phallus and (unsuccessful) sexual intercourse. The context of the poem confirms this interpretation. A visit by a living person to the kingdom of the dead, which is undoubtedly referred to in this poem, can be associated with mythological death and resurrection in the spirit of the agrarian cycle as a campaign for fertility (see myth), which in a subtle sense can be interpreted as the campaign of Orpheus (the first poet) behind the lost Eurydice to the realm of shadows. I think that in this poem, in understanding this line, all three interpretations work simultaneously.

5. Russian futurism (on the example of the work of one poet)

Futurism (from Latin futurum - future) is the common name for the artistic avant-garde movements of the 1910s - early 1920s. XX century., First of all, in Italy and Russia.

Unlike acmeism, futurism as a trend in Russian poetry did not originate in Russia at all. This phenomenon is entirely introduced from the West, where it originated and was theoretically substantiated. Italy was the birthplace of the new modernist movement, and the famous writer Filippo Tommaso Marinetti (1876-1944) became the main ideologist of Italian and world futurism, who spoke on February 20, 1909 on the pages of the Saturday issue of the Parisian newspaper Le Figaro with the first "Manifesto of Futurism", in which was its “anti-cultural, anti-aesthetic and anti-philosophical” orientation is declared.

In principle, any modernist trend in art asserted itself by rejecting the old norms, canons, and traditions. However, futurism was distinguished in this regard by an extremely extremist orientation. This trend claimed to build a new art - "the art of the future", acting under the slogan of a nihilistic denial of all previous artistic experience. Marinetti proclaimed "the world-historical task of Futurism", which was to "spit daily on the altar of art".

The Futurists preached the destruction of the forms and conventions of art in order to merge it with the accelerated life process of the 20th century. They are characterized by admiration for action, movement, speed, strength and aggression; self-exaltation and contempt for the weak; the priority of force, the rapture of war and destruction were affirmed. In this regard, futurism in its ideology was very close to both right and left radicals: anarchists, fascists, communists, oriented towards the revolutionary overthrow of the past.

The Futurist Manifesto consisted of two parts: an introductory text and a program consisting of eleven points-theses of the futuristic idea. Milena Wagner notes that “in them, Marinetti asserts radical changes in the principle of constructing a literary text - “the destruction of the generally accepted syntax”; "the use of the verb in an indefinite mood" in order to convey the meaning of the continuity of life and the elasticity of intuition; the destruction of quality adjectives, adverbs, punctuation marks, the omission of conjunctions, the introduction into literature of "perception by analogy" and "maximum disorder" - in a word, everything aimed at conciseness and increasing the "speed of style" in order to create a "living style that creates itself according to himself, without meaningless pauses expressed by commas and periods. All this was suggested as a way to make literary work a means of conveying the “life of matter”, a means of “grabbing everything that is elusive and elusive in matter”, “so that literature directly enters the universe and merges with it” ...

The words of futuristic works were completely freed from the rigid framework of syntactic periods, from the fetters of logical connections. They were freely located in the space of the page, rejecting the norms of linear writing and forming decorative arabesques or playing entire dramatic scenes built by analogy between the shape of a letter and some figure of reality: mountains, people, birds, etc. Thus, the words turned into visual signs...

The final, eleventh paragraph of the "Technical Manifesto of Italian Literature" proclaimed one of the most important postulates of the new poetic concept: "destroy the I in literature."

"A man completely corrupted by the library and museum<...>is no longer of absolutely no interest ... We are interested in the hardness of the steel plate itself, that is, the incomprehensible and inhuman union of its molecules and electrons ... The warmth of a piece of iron or wood now excites us more than a woman’s smile or tear.

The text of the manifesto caused a stormy reaction and laid the foundation for a new "genre", introducing an exciting element into artistic life - a fist strike. Now the poet rising on the stage began to shock the audience in every possible way: insult, provoke, call for rebellion and violence.

Futurists wrote manifestos, spent evenings where these manifestos were read from the stage and only then were they published. These evenings usually ended in heated arguments with the public, turning into fights. Thus, the trend received its scandalous, but very wide popularity.

Given the socio-political situation in Russia, the seeds of futurism fell on fertile ground. It was this component of the new trend that was, first of all, enthusiastically received by Russian Cubo-Futurists in the pre-revolutionary years. For most of them, "software opuses" were more important than creativity itself.

Although the outrageous technique was widely used by all modernist schools, for the futurists it was the most important, because, like any avant-garde phenomenon, futurism needed increased attention. Indifference was absolutely unacceptable for him, a necessary condition for existence was the atmosphere of a literary scandal. Deliberate extremes in the behavior of the futurists provoked aggressive rejection and a pronounced protest of the public. Which is exactly what was required.

Russian avant-garde artists of the beginning of the century entered the history of culture as innovators who made a revolution in world art - both in poetry and in other areas of creativity. In addition, many became famous as great brawlers. Futurists, Cubo-Futurists and Ego-Futurists, Scientists and Suprematists, Rayonists and Budutlyans, all and nothing struck the imagination of the public. “But in the discussions about these artistic revolutionaries,” as A. Obukhova and N. Alekseev rightly noted, “a very important thing is often overlooked: many of them were brilliant figures of what is now called “promotion” and “public relations.” They turned out to be the forerunners of modern "artistic strategies" - that is, the ability not only to create talented works, but also to find the most successful ways to attract the attention of the public, patrons and buyers.

The Futurists were, of course, radicals. But they knew how to make money. It has already been said about attracting attention to oneself with the help of all kinds of scandals. However, this strategy worked well for quite material purposes. The heyday of the avant-garde, 1912-1916, is hundreds of exhibitions, poetry readings, performances, reports, debates. And then all these events were paid, you had to buy an entrance ticket. Prices ranged from 25 kopecks to 5 rubles - the money at that time was very considerable. [Given that a handyman then earned 20 rubles a month, and sometimes several thousand people came to exhibitions.] In addition, paintings were also sold; on average, things worth 5-6 thousand royal rubles left the exhibition.

Futurists were often accused of greed in the press. For example: “We must do justice to the futurists, cubists and other ists, they know how to get along. Recently, a Futurist married a wealthy Moscow merchant's wife, taking as a dowry two houses, a carriage establishment and ... three taverns. In general, decadents always somehow "fatally" fall into the company of moneybags and arrange their happiness near them ... ".

However, at its core, Russian futurism was still a predominantly poetic trend: in the manifestos of the futurists, it was about the reform of the word, poetry, and culture. And in the rebellion itself, shocking the public, in the scandalous cries of the futurists, there were more aesthetic emotions than revolutionary ones. Almost all of them were prone to both theorizing and advertising and theatrical propaganda gestures. This did not contradict their understanding of futurism as a direction in art that shapes the future of man, regardless of the styles and genres in which its creator works. There was no single style problem.

“Despite the apparent closeness of Russian and European futurists, traditions and mentality gave each of the national movements their own characteristics. One of the signs of Russian futurism was the perception of all kinds of styles and trends in art. "Allness" has become one of the most important futuristic artistic principles.

Russian futurism did not result in an integral artistic system; this term denoted a variety of trends in the Russian avant-garde. The avant-garde itself was the system. And it was dubbed futurism in Russia by analogy with Italian.” And this trend turned out to be much more heterogeneous than the symbolism and acmeism that preceded it.

The Futurists themselves understood this. One of the members of the Poetry Mezzanine group, Sergei Tretyakov, wrote: “Everyone who wants to define futurism (in particular literary) as a school, as literary direction, connected by the commonality of methods of processing the material, the commonality of style. They usually have to stray helplessly between dissimilar factions.<...>and stop in bewilderment between the "archaic songwriter" Khlebnikov, the "tribune-urbanist" Mayakovsky, the "esthete-agitator" Burliuk, the "zaum-snarling" Kruchenykh. And if we add Pasternak's "specialist in indoor aeronautics on the syntax fokker" here, then the landscape will be full. Even more bewilderment will be introduced by those “falling off” from futurism - Severyanin, Shershenevich and others ... All these heterogeneous lines coexist under the common roof of futurism, tenaciously holding on to each other!<...>

The fact is that Futurism has never been a school, and the mutual coupling of the most heterogeneous people into a group was, of course, not kept up as a factional sign. Futurism would not be itself if it finally settled down on a few found patterns of artistic production and ceased to be a revolutionary ferment ferment, relentlessly impelling to invention, to the search for new and new forms.<...>The strong-assed bourgeois-petty-bourgeois way of life, in which past and modern art (symbolism) entered as solid parts, forming a stable taste of a serene and carefree, secure life, was the main stronghold from which Futurism pushed off and on which it collapsed. The blow to aesthetic taste was only a detail of the general planned blow to everyday life. Not a single outrageous stanza or manifesto of the futurists caused such a hubbub and squeal as painted faces, a yellow jacket and asymmetric suits. The brain of a bourgeois could endure any mockery of Pushkin, but to endure a mockery of the cut of trousers, a tie or a flower in a buttonhole was beyond his strength ... ".

The poetry of Russian futurism was closely connected with avant-gardism in painting. It is no coincidence that many Futurist poets were good artists - V. Khlebnikov, V. Kamensky, Elena Guro, V. Mayakovsky, A. Kruchenykh, the Burliuk brothers. At the same time, many avant-garde artists wrote poetry and prose, participated in futuristic publications not only as designers, but also as writers. Painting in many ways enriched futurism. K. Malevich, P. Filonov, N. Goncharova, M. Larionov almost created what the futurists were striving for.

However, Futurism also enriched avant-garde painting in some ways. At least in terms of scandalousness, the artists were not much inferior to their poetic counterparts. At the beginning of the new, 20th century, everyone wanted to be innovators. Especially artists who rushed to the only goal - to say the last word, and even better - to become the last cry of modernity. And our domestic innovators, as noted in the already cited article from the newspaper "Foreigner", began to use the scandal as a fully conscious artistic method. They arranged various scandals, ranging from mischievous theatrical antics to banal hooliganism. The painter Mikhail Larionov, for example, was repeatedly arrested and fined for outrages committed during the so-called “public disputes”, where he generously slapped opponents who disagreed with him, threw a music stand or a table lamp at them ...

In general, very soon the words "futurist" and "hooligan" for the modern moderate public became synonymous. The press enthusiastically followed the "exploits" of the creators of the new art. This contributed to their fame in the general population, aroused increased interest, attracted more and more attention.

The history of Russian futurism was a complex relationship between the four main groups, each of which considered itself the spokesman for "true" futurism and led a fierce debate with other associations, challenging the dominant role in this literary movement. The struggle between them resulted in streams of mutual criticism, which by no means united the individual participants in the movement, but, on the contrary, increased their enmity and isolation. However, from time to time, members of different groups approached or moved from one to another.

+ We add information from the ticket about V. V. Mayakovsky to the answer

Content
I.Introduction…………………………………………………………………3
II main part
1. Curriculum vitae. 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 work of I. A. Bunin. 14
4. The image of love in the works of contemporary authors. nineteen
III Conclusion. 26
IV. Literature…………………………………………………………..27

I.Introduction

The theme of love is called the eternal theme. Over the centuries, many writers and poets dedicated their works to the great feeling of love, and each of them found something unique, individual in this topic: W. Shakespeare, who sang the most beautiful, most tragic story about 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 "Master and Margarita", whose love overcomes all obstacles on the way to their happiness . This list can be continued and supplemented by modern authors and their heroes who dream of love: Roman and Yulka G. Shcherbakova, simple and sweet Sonechka L. Ulitskaya, heroes of stories by L. Petrushevskaya, V. Tokareva.

The purpose of my essay: to explore the theme of love in the works of writers of the twentieth century I.A. Bunin, A.I. Kuprin and writers of our time, authors of the XXI century 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 work of these writers;
2) to reveal the philosophy of love in the understanding of A.I. Kuprin (based on the story "Garnet Bracelet" and the story "Olesya");
3) to identify the features of the image 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. Curriculum vitae. I.A. Bunin (1870 - 1953).
Ivan Alekseevich Bunin is a remarkable Russian writer, poet and prose writer, a man of great and difficult destiny. He was born in Voronezh in an impoverished noble family. Childhood passed in the village. Early he knew the bitterness of poverty, caring for a piece of bread.
In his youth, the writer tried many professions: he served as an extra, a librarian, and worked in newspapers.

At the age of seventeen, Bunin published his first poems, and since that time he has forever connected his fate with literature.

Bunin's fate was marked by two circumstances that did not pass without a trace for him: being a nobleman by birth, he did not even receive a gymnasium education. And after leaving from under his native roof, he never had his own home (hotels, private apartments, life at a party and out of mercy, 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 the Open Sky" (1898), an artistic translation of G. Longfellow's Song of Hiawatha, poems and stories.

Bunin deeply felt the beauty of his native nature, he perfectly knew the life and customs of the village, its customs, traditions and language. Bunin is a lyricist. His book “Under the open sky” 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 the realistic literature of the 19th century, open up the world of village life. Truthfully, the author tells about the life of an intellectual - a proletarian with his spiritual turmoil, about the horror of the senseless living of people "without a clan - a tribe" ("Halt", "Tanka", "News from the Motherland", "Teacher", "Without a clan - a tribe", "Late Night"). Bunin believes that with the loss of beauty in life, the loss of its meaning is inevitable.

The writer traveled throughout his long life to many countries in Europe and Asia. The impressions of these trips served as material for his travel essays ("Shadow of the Bird", "In Judea", "Temple of the Sun" and others) and stories ("Brothers" and "The Gentleman from San Francisco").

Bunin did not accept the October Revolution resolutely and categorically, rejecting as "bloody madness" and "general madness" any violent attempt to rebuild human society. He reflected his feelings in the diary of the revolutionary years "Cursed Days" - a work of fierce rejection of the revolution, published in exile.

In 1920, Bunin went abroad and fully knew the fate of an émigré writer.
Few poems were written in the 20s - 40s, but among them are lyrical masterpieces - “And flowers, and bumblebees, and grass, and ears of corn ...”, “Michael”, “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, approved the author's right to one of the first places in Russian poetry.

Ten new books of prose were written in exile - The Rose of Jericho (1924), Sunstroke (1927), God's Tree (1930) and others, including the story Mitina's Love (1925). This story is about the power of love, with its tragic incompatibility of the carnal and the spiritual, when the hero's suicide becomes the only "deliverance" from the everyday life.
In 1927 - 1933, Bunin worked on his largest work - "The Life of Arseniev". In this "fictitious autobiography" the author restores the past of Russia, his childhood and youth.

In 1933, Bunin was awarded the Nobel Prize "for the truthful artistic talent with which he recreated the typical Russian character in fiction."
By the end of the 30s, Bunin increasingly felt homesickness, during the Great Patriotic War rejoiced at the successes and victories of the Soviet and allied troops. With great joy I met the victory.

During these years, Bunin created stories that were included in the collection "Dark Alleys", stories only about love. The author considered this collection to be the most perfect in terms of craftsmanship, especially the story "Clean Monday".

In exile, Bunin constantly revised his already published works. Shortly before his death, he asked to print his works only according to the latest author's edition.

Alexander Ivanovich Kuprin (1870-1938) is a talented writer of the early 20th century.

Kuprin was born in the village of Narovchatovo, Penza Region, in the family of an office worker.

His fate is amazing and tragic: early orphanhood (the father died when the boy was a year old), continuous seventeen-year seclusion in state institutions (orphanage, military gymnasium, cadet corps, cadet school).

But gradually Kuprin dreamed 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 about the everyday life of the tsarist army, which he later described in many works. In the story "In the Dark", the stories "Psyche" " moonlit night written during these years, artificial plots still prevail. One of the first works based on personal experience and what he saw was a story from army life “From the Distant Past” (“Inquiry”) (1894).

From the "Inquest" begins a chain of works by Kuprin, connected with 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 wandering around the south of Russia. On the Kiev piers, he unloads barges with watermelons, in Kiev he organizes an athletic society. In 1896, he worked for several months at one of the factories in the Donbass, in Volhynia he served as a forest ranger, estate manager, psalmist, engaged in dentistry, played in a provincial troupe, worked as a land surveyor, and became close to circus performers. Kuprin's stock of observations is supplemented by stubborn 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. main topic this story - the theme of Russian capitalism, Moloch - sounded unusually new and significant. The author tried with the help of allegory to express the idea of ​​the inhumanity of the industrial revolution. Almost to the end of the story, the workers are shown as the patient victims of Moloch, very often they are compared with children. And the result of the story is logical - an explosion, a black wall of workers against the backdrop of a flame. These images were intended to convey the idea of ​​a popular revolt. 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 before readers as a magnificent artist of love. The theme of beautiful, wild and majestic nature, which was previously close to him, firmly enters into the writer's work. The tender, generous love of the forest "sorceress" Olesya is opposed to the timidity and indecision of her lover, the "city" man.

In St. Petersburg magazines, Kuprin publishes the stories "Swamp" (1902), "Horse thieves" (1903), "White Poodle" (1904) and others. In the heroes of these stories, the author admires steadfastness, fidelity in friendship, incorruptible dignity ordinary people In 1905, the story "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 the living, vigilance of observations are distinguished by Kuprin's stories about animals "Emerald" (1906), "Starlings" (1906), "Zavirayka 7" (1906), "Yu-yu". About love that illuminates human life, Kuprin writes in the stories Shulamith (1908), Garnet Bracelet (1911), depicting the bright passion of the biblical beauty Shulamith and the tender, hopeless and selfless feeling of the little official Zheltkov.

A variety of plots suggested to Kuprin his life experience. He rises in a balloon, in 1910 he flies on one of the first airplanes in Russia, studies diving and descends to the seabed, and is proud of his friendship with the Balaklava fishermen. All this decorates the pages of his works with bright colors, the spirit of healthy romance. The heroes of the story and stories of Kuprin are people of various classes and social groups. tsarist Russia, ranging from capitalist millionaires 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 life mistake - he paid with cruel homesickness and a creative decline.
"How more talented person, 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 "Moscow is dear", new creative plans are ripening in 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 first truly original story of the artist, written boldly, in his own way. "Olesya" and the later story "The River of Life" (1906) Kuprin attributed to his best works. “Here is life, freshness,” the writer said, “the struggle with the old, obsolete, impulses for a new, 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 - with cruel morals perebrodsky peasants.
The writer introduces us to an atmosphere of harsh rural life with poverty, ignorance, bribes, savagery, drunkenness. To this world of evil and ignorance, the artist opposes another world - the true harmony and beauty, written out just as realistically and full-blooded. Moreover, it is the bright atmosphere of great true love that inspires the story, infecting with impulses “towards a new, better”. “Love is the brightest and most understandable reproduction of my I. Not in strength, not in dexterity, not in mind, not in talent ... individuality is expressed not in creativity. But in love,” Kuprin wrote to his friend F. Batyushkov, clearly exaggerating.
In one thing, the writer turned out to be right: the whole person, his character, worldview, and structure of feelings are manifested in love. In the books of great Russian writers, love is inseparable from the rhythm of the era, from the breath of time. Beginning with Pushkin, artists tested the character of a contemporary not only by social and political deeds, but also by the sphere of his personal feelings. Not only a man became a true hero - a fighter, figure, thinker, but also a man of great feelings, capable of deeply experiencing, inspired to love. 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, the highest measure.

The story is built on a comparison of two heroes, two natures, two world relations. On the one hand, there is an educated intellectual, a representative of urban culture, a rather humane Ivan Timofeevich, on the other hand, Olesya is a “child of nature”, a person who has not been influenced by urban civilization. The ratio 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 his strength.

If in relations with Yarmola and the village people Ivan Timofeevich looks bold, humane and noble, then in communication with Olesya, the negative aspects of his personality also come out. His feelings turn out to be timid, the movements of the soul - constrained, inconsistent. “Fearful expectation”, “mean fear”, the indecision of the hero set off the wealth of the soul, courage and freedom of Olesya.

Freely, without any special tricks, Kuprin draws the appearance of a Polissya beauty, forcing us to follow the richness of the 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 to reveal the beauty of the human person, generously endowed by nature. Naivety and dominance, femininity and proud independence, “a flexible, mobile mind”, “primitive and vivid imagination”, touching courage, delicacy and innate tact, involvement in the innermost secrets of nature and spiritual generosity - these qualities are distinguished by the writer, drawing the charming appearance of Olesya, whole, original, free nature, which flashed like a rare gem in the surrounding darkness and ignorance.

Revealing the originality, talent of Olesya, Kuprin touched those mysterious phenomena of the human psyche that are unraveled by science to this day. He speaks of the unrecognized powers of intuition, premonitions, the wisdom of millennia of experience. Realistically comprehending Olesya's "sorcerous" charms, the writer expressed a just conviction that "that Olesya had access to those unconscious, instinctive, foggy, obtained by random experience, strange knowledge, which, having outstripped exact science for centuries, lives, mixed with funny and wild beliefs, in a dark, closed mass 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 does not destroy, the bodily, spiritual and intellectual abilities bestowed on 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 flourishing of love and the human personality is the poetic core of the story.

With an amazing sense of tact, Kuprin makes us experience the disturbing period of the birth of love, “full of vague, painfully sad sensations”, and her happiest seconds of “pure, complete, all-consuming delight”, and long joyful meetings of lovers in a dense pine forest. The world of spring jubilant nature - mysterious and beautiful - merges in the story with an equally beautiful overflow of human feelings.
The light, fabulous atmosphere of the story does not fade even after the tragic denouement. Over everything insignificant, petty and evil, real, great earthly love wins, which is remembered without bitterness - "easily and joyfully." The final touch of the story is characteristic: a string of red beads on the corner of the window frame among the dirty mess of the 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 of 1908 - 1911 about love completes the "Garnet Bracelet". Curious creative history story. Back in 1910, Kuprin wrote to Batyushkov: “Do you remember this is the sad story of a small telegraph official P.P. We find further deciphering 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”. "Prototypes for some actors members of my family served, 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 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 "repeats only once in a thousand years." “A curious case” Kuprin illuminated 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, comprehended the events in his own way, introducing a tragic ending. In life, everything ended well, suicide did not happen. The dramatic ending, fictional by the writer, gave extraordinary strength and weight to Zheltkov's feeling. His love conquered death and prejudice, she 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 sound in the finale and serve as a hymn to pure and selfless love.

And yet, "Garnet Bracelet" does not leave such a bright and inspirational impression as "Olesya". K. Paustovsky subtly noticed the special tonality 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 sounds a bitter, mournful thought about the inability of contemporaries to a great real feeling.

The bitterness of the story - and in tragic love Zheltkov. Love won, but it passed by some kind of incorporeal shadow, reviving only in the memories and stories of the heroes. Perhaps too real - the everyday basis of the story interfered with the author's intention. Perhaps the prototype of Zheltkov, his nature did not carry that joyfully - majestic force that was necessary to create the apotheosis of love, the apotheosis of personality. After all, Zheltkov's love was fraught with not only inspiration, but also inferiority associated with the limitations of the very personality of the telegraph official.
If for Olesya love is a part of being, a 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 dying letter to Princess Vera. “It so 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, all life lies only in you.” For Zheltkov, there is only love for a single woman. It is quite natural that the loss of her becomes the end of his life. He has nothing more to live for. Love did not expand, did not deepen his ties with the world. As a result, the tragic finale, along with the anthem of love, 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 "Mitina's Love", the next 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 the book "Dark Alleys", published in 1946. Bunin considered this book his " the best work in terms of conciseness, painting and literary craftsmanship.”

Love in the image of Bunin is striking not only by the power of artistic depiction, but also by its subordination to some internal laws unknown to man. Infrequently they break through to the surface: most people will not experience their fatal effects until the end of their days. Such an image of love unexpectedly gives a sober, "merciless" Bunin talent a romantic glow. The closeness of love and death, their conjugation were obvious facts for Bunin, they were never in doubt. However, the catastrophic nature of life, the fragility of human relations and existence itself - all these favorite Bunin topics after gigantic social cataclysms that shook Russia were filled with a new formidable meaning, as, for example, can be seen in the story "Mitya's Love". "Love is beautiful" and "Love is doomed" - these concepts, finally combined, coincided, carrying in the depths, in the grain of each story, the personal grief of Bunin the emigrant.

Bunin's love lyrics are not large quantitatively. 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! ..”, “A calm look, similar to the look of a doe ...”, “At a late hour we were with her in the field ...”, “Loneliness”, “Sorrow of eyelashes, shining and black ...” and etc.

Bunin's love lyrics are passionate, sensual, saturated with a thirst for love and are always full of tragedy, unfulfilled hopes, memories of past youth and departed love.

I.A. Bunin has a peculiar, distinguishing him from many other writers of that time view of love relationship.

In Russian classical literature At 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 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.

The theme of love and death (often in contact with Bunin) is devoted to works - “Grammar of Love”, ” Easy breath”, ”Mitina Love”, ”Caucasus”, ”In Paris”, ”Galya Ganskaya”, ”Heinrich”, ”Natalie”, ”Cold Autumn” and others. 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 deify her image (“Grammar of Love”). breath"? The author does not answer these questions, but with his works he makes it clear what is in it. certain meaning earthly human life.

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, a conditional scheme that does not fit into the elements of natural, living life.

When describing risqué details related to the body, when 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 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 widened even more, her 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, for the happiness of love in " dark alleys followed by separation 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 the 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" - abundance female images for every taste. But the hero remains lonely and free from "human wives".

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, 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 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.

A distinctive feature of love in the image of Bunin is a 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, intricate labyrinths of love.

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, the enlightenment of heroes, lies that all-cleansing melody, which also speaks of the imperfection of people who have not yet learned how to live. Recognize and cherish real feelings, and about the imperfection of life itself, social conditions, the 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 fate a uniqueness against the background of ordinary everyday stories, filling his earthly existence with a special meaning.

This mystery of being becomes the theme of Bunin's story "Grammar of Love" (1915). The hero of the work, a certain Ivlev, having stopped on his way to the house of the recently deceased landowner Khvoshchinsky, reflects on "love incomprehensible, which turned a whole human life into some kind of ecstatic life, which, maybe it should have been the most ordinary life, ”if not for the strange charm of the maid Lushka. It seems to me that the riddle lurks not in the appearance of Lushka, who “was not at all good with herself,” but in the character of the landowner himself, who idolized his beloved. “But what kind of person was this Khvoshchinsky? Crazy or just some kind of dazed, all-on-one soul?” According to neighbors-landlords. Khvoshchinsky "was known in the county as a rare clever girl. And suddenly this love fell on him, this Lushka, then her unexpected death - and everything went to dust: he shut himself up in the house, in the room where Lushka lived and died, and for more than twenty years sat on her bed ... "How can you call this twenty years of seclusion? Insanity? For Bunin, the answer to this question is not at all unambiguous.

The fate of Khvoshchinsky strangely fascinates and worries Ivlev. He understands that Lushka entered his life forever, awakened in him "a complex feeling, similar to what he once experienced in one Italian town when looking at the relics of one saint." What made Ivlev buy from the heir Khvoshchinsky "for dear price ”a small book “Grammar of Love”, with which the old landowner did not part, cherishing the memories of Lushka? Ivlev would like to understand what the life of a madman in love was filled with, what his orphaned soul fed for many years. And, following the hero of the story, reveal the secret of this inexplicable feelings will be tried by "grandchildren and great-grandchildren", who heard "voluptuous legend about the hearts of those who loved", and with them the reader of Bunin's work.

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. After parting 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 seized 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 lostly.The depth of the hero's spiritual insight is clearly expressed in the final phrase of the story: "The lieutenant sat 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 being?

The torment of a loving soul, the bitterness of loss, the sweet pain of memories - such unhealed wounds are left in the fate 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 a tragedy, a catastrophe, madness, a great feeling, capable of both infinitely elevating and destroying a person.
4. The image of love in the works of contemporary authors.
The theme of love is one of the most important themes in modern Russian literature. Much has changed in our life, but a person with his boundless desire to find love, to penetrate its secrets remains the same.

In the 1990s, the totalitarian regime was replaced by a new democratic government that declared freedom of speech. Against this background, somehow by itself, not too noticeably, a sexual revolution took place. There was also a feminist movement in Russia. All this led to the emergence of contemporary literature so-called "women's prose". Women writers address, in the main, what excites readers most of all, i.e. to the theme of love. “Women's novels” come out on top - sugary-sentimental melodramas of the “women's series” According to the literary critic V. G. Ivanitsky, “ women's novels» - fairy tales repainted in modern colors and relocated to modern scenery. They have an epic, pseudo-folklore nature, smoothed and simplified as much as possible. There is a demand for it! This literature is built on the proven clichés, the traditional stereotypes of "femininity" and "masculinity" - stereotypes so hated by any person with taste.
In addition to this low-grade literary production, which is undoubtedly the influence of the West, there are wonderful and bright authors who write serious and profound 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 with a law degree. Another grandfather - the Commercial School, the Conservatory, served 17 years in camps in several stages. Wrote two books: on demography and music theory. He died in exile in 1955. The parents were scientists. L. Ulitskaya followed in their footsteps, graduated from the Faculty of Biology of Moscow State University, specializing in biology and genetics. She worked at the Institute of General Genetics, she was guilty before the KGB - she read some books, reprinted them. On this scientific career ended.

She wrote her first story, Poor Relatives, in 1989. She took care of her sick mother, gave birth to sons, worked as a head of the Jewish theater. She wrote the stories "Sonechka" in 1992, "Medea and her children", "Merry Funeral", in recent years has become one of the brightest phenomena of modern prose, attracting both the reader and criticism.
"Medea and her children" - a 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 leads Masha to commit suicide. Are children responsible for the sins of their fathers? In one of the interviews, L. Ulitskaya speaks about the understanding of love in modern society:

“Love, betrayal, jealousy, suicide on the basis of love - 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 an opponent. But every time there are generally accepted reactions - from imprisonment in a monastery - to a duel, from stoning - to an ordinary divorce.
It sometimes seems to people who grew up after the great sexual revolution that everything can be negotiated, that prejudices can be abandoned, that outdated rules can be defied. And within the framework of mutually granted sexual freedom, to save marriage, raise children.
I have met several such unions in my life. I suspect that in such a contractual relationship, after all, one of the spouses is a secretly suffering party, but having no other choice but to accept the proposed conditions. As a rule, such contractual relations break up sooner or later. And not every psyche can withstand what “an enlightened mind agrees to”

Anna Matveeva was born in 1972 in Sverdlovsk. She graduated from the Faculty of Journalism of the USU .. But, despite her youth, Matveeva is already a well-known prose writer and essayist. Her story "Dyatlov Pass" reached the final literary prize named after Ivan Petrovich Belkin. The story "Saint Helena", included in this collection, was awarded in 2004 the international literary prize "Lo Stellato", which is awarded in Italy for the best story.

She worked in the "Regional newspaper", press secretary ("Gold - Platinum - Bank").
Twice won the Cosmopolitan short story competition (1997, 1998). Published several books. Published in the magazines "Ural", "New World". Lives in the city of Yekaterinburg.
The plots of Matveeva, one way or another, are built around the "female" theme. Judging by external parameters, it seems that the author's attitude to the above question is skeptical. Her heroines are young women with a masculine mindset, strong-willed, independent, but, alas, unhappy in their personal lives.

Matveeva writes about love. “Moreover, it conveys the plot, not in some metaphorical or metaphysical way, but one to one, without shying away from the elements of melodrama. She is always curious to compare rivals - how they look, how they are dressed. It is curious to evaluate the subject of rivalry, moreover, with a female rather than a writer's eye. In her stories, it often happens that people who are well known meet after passing the first distance in life - from youth to youth. Here the author is interested in who succeeded and who became a loser. Who has “aged”, and who has not, who has acquired a marketable appearance, and who, on the contrary, has fallen. It seems that all the heroes of Matveeva are her former classmates, whom she "meets" in her own prose.

One more salient feature. The heroes of Anna Matveeva differ from the traditional “little people” of compassionate Russian prose in that they are by no means in poverty, but, on the contrary, earn money and lead an appropriate lifestyle. And since the author is accurate in details (expensive clothing lines, sightseeing tours), the texts acquire a certain touch of glossiness.

However, in the absence of "professional correctness", Anna Matveeva's prose has the correctness of naturalness. In fact, it is very difficult to write a melodrama, you will not achieve anything here with labor efforts: you must have a special gift for storytelling, the ability to “revive” the hero and provoke him correctly in the future. The young writer possesses such a bouquet of abilities quite. The little story "Pas de trois", which gave the name to the whole book, is pure 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. Waiting for an easy and final victory over the old one - she is already 35! - the wife should end in Rome, beloved - with daddy's money - the city. In general, the heroes of A. Matveeva do not know material problems. If they get bored with their native industrial landscape, they immediately leave for some foreign country. Sit in the Tuileries - “on a thin chair that rests its legs on the sand, lined with pigeon legs”, - or take a walk in Madrid, or even better (a version of poor Katya, who was defeated by her old wife) - give up on Capri, live there for a month - another .

Katya, she is a nice - by the definition of a rival - an intelligent girl, besides, a future art critic, now and then getting dear Misha with her erudition. (“I still really want to show you the terms of Caracalla.” - “Karaka what?”). But the dust shaken out of old books into a young head did not bury the natural mind under it. Katya is able to learn, to understand people. She also copes with the difficult situation in which she fell due to the selfishness of her youth and the lack of parental love. With all the material well-being, in the spiritual sense, Katya, like many children of new Russians, is an orphan. She is exactly that fish soaring in the sky. Misha Idolov “gave her what her father and mother had refused. Warmth, admiration, respect, friendship. And then - love.

However, she decides to leave Misha. “You are so much better than me, and him, by the way, too, which would be wrong ...” - “How long have you been evaluating actions from this point of view?” - mimicked Nina.

“When I have children,” Katya thought, lying in the bed of the Pantalon Hotel, “it doesn’t matter if it’s a boy or a girl, I will love them. It is so simple".

In someone else's husband, she is looking 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, Nina thought, will soon become an adult, she will definitely meet a married man, fall in love with him, and who can guarantee that this man will not 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 (noble and selfish in equal measure) no longer saves anything. “Looking at her, Nina suddenly felt that she didn’t need Misha Idolov now - she didn’t even need it in the name of Dasha. She will not be able to sit next to him, as before, hug him awake, and a thousand more rituals forged by time will never happen again. The swift tarantella ends, the last chords sound, and soldered common days the trio breaks up for the sake of bright solo performances.

"Pas de trois" is a small elegant story about the education of feelings. All her characters are quite young and recognizably modern new Russian people. Its novelty is in the emotional tone in which the eternal problems of the love triangle are solved. No exaltation, no tragedies, everything is everyday - businesslike, rational. One way or another, but you have to live, work, give birth and raise children. And do not expect holidays and gifts from life. What's more, you can buy them. Like a trip to Rome or Paris. But sadness about love - humbly - muffled - still sounds in the finale of the story. A love that constantly happens despite the stubborn opposition of the world. After all, for him, both today and yesterday, she is a kind of excess, only a brief and sufficient flash for the birth of a new life. The quantum nature of love resists turning it into a constant and convenient source of warmth.”

If the truth of everyday life triumphs in the story, the usual low truths, then in the stories it is an uplifting deceit. Already the first of them - "Supertanya", playing on the names of Pushkin's heroes, where Lensky (Vova), of course, dies, and Eugene, as it should, at first rejects a married girl in love - ends with the victory of love. Tatyana is waiting for the death of a rich and cool, but not beloved husband and unites with Eugenics, dear to her heart. The story sounds ironic and sad, like a fairy tale. “Eugenicist and Tanya seem to have dissolved in 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 that she will not tell anyone ...”

Light irony, gentle humor, a condescending attitude towards human weaknesses and shortcomings, the ability to compensate for the discomfort of everyday existence with the efforts of the mind and heart - all this, of course, attracts and will attract the widest readership. Anna Matveeva was originally not a guild writer, although current literature exists mainly due to such short-lived fiction writers. The problem, of course, is that its potential mass reader is not buying books today. Those who read love paperback portable novels fall short of Matveeva's prose. They need a harder drug. The stories that Matveeva tells happened before, are happening now and will always happen. People will always fall in love, change, 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 expressed not in strength, not in dexterity, not in mind, not in creativity. But in love!

The extraordinary strength and sincerity of feeling is characteristic of the heroes of the stories of Bunin and Kuprin. Love, as it were, says: "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 truest sense.
Creativity, both Bunin and Kuprin, is attracted by their love of life, humanism, love and compassion for man. The convexity of the image, simple and clear language, precise and subtle drawing, lack of edification, psychologism of characters - all this brings them closer to the best classical tradition in Russian literature.

L.Ulitskaya and A.Matveeva, the masters of modern prose, are also alien to didactic straightforwardness; in their stories and stories there is a pedagogical charge so rare in modern fiction. They remind not so much that “know how to cherish love”, but about 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, not physiology. This involuntarily recalls the traditions of great Russian literature.

Literature
1. Agenosov V.V. Russian literature of the twentieth century.- M.: Bustard, 1997.
2. Bunin I.A. Poems. Tales. 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. Tale. Stories. - M .: Bustard: Veche, 2002.
6. Matveeva A Pa - de - trois. Tales. Stories. - Yekaterinburg, "U-Factoria", 2001.
7. Remizova M.P. Hello, young prose ... - Banner No. 12, 2003.
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)

14-11-2013

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The theme of love in the work of Bunin and Kuprin occupies a special place. Of course, writers described this feeling in different ways and discovered new aspects of its manifestation. There are also similar features: they talk about both an all-consuming passion and a tragic feeling that cannot stand the test of life situations. The theme of love in the work of Bunin and Kuprin shows it in all its diversity, allowing you to see new facets of this feeling.

Playing with contrasts

The theme of love in the work of Bunin and Kuprin is often shown in opposition to the characters of the main characters. If we analyze their works, it can be noted that in most of them one of the lovers has a stronger character and is ready to sacrifice everything for the sake of his feelings. The other side turns out to be weaker, for which public opinion or personal ambitions are more important than feelings.

This can be seen in the example of the heroes of Bunin's story "Dark Alleys". Both heroes met by chance and remembered the time when they were in love. The heroine, Nadezhda, carried love through her whole life - she never met someone who could outshine the image of Nikolai Alekseevich. He married, however, not having a strong feeling for his wife, but he did not really regret it. To think that the owner of the tavern could become his wife, the mistress of the house - for him it was unthinkable. And if Nadezhda was ready for anything to be with her beloved and continued to love him, then Nikolai Alekseevich is shown as a person for whom social status and public opinion are more important.

The same contrast can be seen in Kuprin's Olesya. The Polissya witch is shown as a girl with a warm heart, capable of great feelings, ready to sacrifice not only her well-being, but also the tranquility of her loved ones for the sake of her lover. Ivan Timofeevich is a man of a gentle nature, his heart is lazy, incapable of experiencing the love of the strength that Olesya had. He did not follow the call of his heart, his movement, so he only had the girl's beads as a memory of this love.

Love in the works of Kuprin

Despite the fact that both writers considered a bright feeling to be a manifestation of goodness, nevertheless, they describe it a little differently. The theme of love in the work of Bunin and Kuprin has various manifestations, if you read their works, you can understand that most often the relationships they describe have differences.

So, A. I. Kuprin most often talks about tragic love, sacrificial, for the writer true love must necessarily be accompanied by life tests. Because a strong and all-consuming feeling could not bring happiness to loved ones. Such love could not be simple. This can be seen in his works, such as "Olesya", "Garnet Bracelet", "Shulamith" and others. But for the heroes, even such love is happiness, and they are grateful that they had such a strong feeling.

Love in Bunin's stories

For writers, a bright feeling is the most beautiful thing that could happen to a person. Therefore, the theme of love in the work of Bunin and Kuprin occupied a special place, which is why their works so excited readers. But they understood it each in their own way. In the work of I. A. Bunin, love is a flash of emotions, a happy moment that suddenly appears in life, and then just as abruptly ends. Therefore, in his stories, the characters evoke conflicting feelings among readers.

So, in the story "Sunstroke" love-flash is shown, love-instant, illuminating the life of two people for a brief moment. And after they broke up, the main character felt older by many years. Because this fleeting love took away all the best that was in him. Or in the story "Dark Alleys" the main character continued to love, but she could not forgive her lover's weaknesses. And he, although he understood that she had given him best years, continued to believe that he did the right thing. And if in the work of Kuprin, love was certainly tragic, then in Bunin it is shown as a more complex feeling.

The unusual side of light feeling

Although love in the works of Bunin and Kuprin is a sincere, real relationship between two people, sometimes love can be completely different. It is this side that is shown in the story "The Gentleman from San Francisco". Although this work is not about love, in one episode it is said that one happy couple walked around the ship and everyone, looking at her, saw two lovers. And only the captain knew that they were hired specifically to play a strong feeling.

It would seem, what could this have to do with the theme of love in the works of Bunin and Kuprin? This also happens - this also applies to actors who play lovers on stage, and such couples who were hired on purpose. But it also happens that a real feeling can arise between such artists. On the other hand, someone, looking at them, gains hope that he will also have love in life.

The role of details in the description

The description of the feeling of love in both A. I. Kuprin and I. A. Bunin takes place against the background of a detailed description of the everyday life of the characters. This allows you to show how a strong feeling flows in a simple life. How can the attitude of heroes to familiar things and phenomena change. And some details of the life of the characters allow you to better understand the nature of the characters. The writers managed to organically combine everyday life and a bright feeling.

Can everyone feel

In the essay "The Theme of Love in the Works of Bunin and Kuprin" it is also worth noting that only strong people. After all, why can't the heroes of their works be together? because strong personality falls in love with someone who cannot experience a feeling of equal strength. But thanks to such a contrast, the love of such heroes looks even stronger and sincere. A. I. Kuprin and I. A. Bunin wrote about a bright feeling in its various manifestations, so that readers understand that whatever love is, it is happiness, that it happened in life, and a person should be grateful that he has the ability to love.

Writing

The theme of love is an eternal theme not only in literature, but also in art in general. Each artist brings something of his own to it: his own understanding of this feeling, his attitude towards it. Writers Silver Age interpreted love relationships in their own way. We can say that they have developed their own philosophy of love.

Bunin and Kuprin are one of the most prominent writers of that time, who went far beyond the Silver Age. Most of their work is devoted to the theme of love. Each of these artists created their own, original, works. They cannot be confused. But common sense the works of both Bunin and Kuprin can be conveyed by a rhetorical question: “Is love sometimes infrequent?”

Indeed, in Bunin's "Dark Alleys" there is probably not a single story dedicated to happy love. One way or another, this feeling is short-lived and ends dramatically, if not tragically. But the writer claims that, in spite of everything, love is beautiful. It, albeit for a short moment, illuminates a person's life and gives him a meaning for further existence. For example, in the story "Cold Autumn" the heroine, having lived a long and very hard life, sums up: “But, remembering everything that I have experienced since then, I always ask myself: yes, but what did happen in my life? And I answer myself: only that cold autumn evening. Only that autumn cold evening, when the heroine said goodbye to her fiancé, who was leaving for the war. It was so light and, at the same time, sad and heavy in her soul.

Only at the end of the evening, the heroes started talking about the worst: what if the beloved does not return from the war? Would they kill him? The heroine does not want and cannot even think about it: “I thought: “What if they really kill? and am I really going to forget it at some point - after all, everything is forgotten in the end? And she hastily answered, frightened by her thought: “Don't talk like that! I won't survive your death!"

The heroine's fiancé was indeed killed. And the girl survived his death. She even got married and had a child. After the 1917 revolution, she had to wander around Russia and other countries. But, at the end of years, thinking about her life, the heroine comes to the conclusion that in her life there was only one love. Moreover, in her life there was only one autumn night that illuminated the whole life of a woman. This is her life meaning, her support and support.

The heroes of the stories "Caucasus" and "Clean Monday" do not talk about their lives, do not comprehend it. But in their lives, love-flash, love-rock played a huge role. You can say, it seems to me that she turned the existence of heroes, changed their way of life and thoughts.

In "Clean Monday" the hero loves his mysterious beloved with hot passion-love. He wants the same from her. But his lady of the heart, as if, cannot simply be happy. Something gnaws at her, won't let go. Some kind of sadness does not allow the heroine to be happy. “Happiness, happiness ...“ Our happiness, my friend, is like water in a delusion: you pull - it puffed up, but you pull it out - there’s nothing, ”she says.

Only on the last night before clean Monday, the heroine completely surrenders to the hero: both physically and spiritually. But after that, she announces that she is returning to her home, to Tver. And, probably, he will go to the monastery.

The heart of the hero from grief was torn to pieces. He loved this girl with all his heart. But, despite all the suffering, his love for her is a bright spot in life, albeit with an admixture of something bitter, incomprehensible, mysterious.

Love in the story "Caucasus" generally ends tragically. Because of her, a man, the husband of the narrator's beloved, dies. The feeling of love, according to Bunin, brings a lot of bitterness. It cannot be durable. Love is a flash that passes quickly and carries with it not only a creative, but also a destructive force. Love, according to the writer, is always associated with fate, mystery, mystery. But, nevertheless, this is the highest happiness that can only be in a person's life.

This idea in his work is fully supported by AI Kuprin. In the story "Garnet Bracelet" he draws a sacrificial and unrequited feeling that completely took possession of the hero. This seemingly unremarkable little man, a petty official, had a huge gift. Zheltkov knew how to love. Moreover, he subordinated his whole life, his whole being to this feeling. Therefore, when he was asked to no longer pay attention to his adored Vera Nikolaevna, the hero simply passes away. Without a princess, he has no reason to live. In his last letter, he wrote: “It’s not my fault, Vera Nikolaevna, that it was God’s will to send me, as a huge happiness, love for you. It so happened 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, all life is only in you.

Zheltkov is aware of this and thanks God for the feeling he is experiencing. The hero does not need anything in return, only write letters to his beloved and give her the most precious thing - a piece of his huge soul.

This hero, it seems to me, could exclaim: "Is love ever unhappy?" Reading the works of Bunin and Kuprin, we begin to think about this. And also, it seems to me, we begin to appreciate this feeling more, regardless of its reciprocity.