Bunin and Kuprin's ideas about love. The theme of love in the works of Kuprin and Bunin (School compositions)

Zasukhina M., 11 A

Reflections on the irresistible power of love, attention to the inner world of a person, studies of the subtlest nuances of human relationships and philosophical speculation of the laws of life

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Gymnasium number 2

ABSTRACT ON LITERATURE

PERFECT LOVE IN PICTURE

I. A. BUNIN AND A. I. KUPRINA

HEAD: Yu. Yu. Shchapova

MURMANSK

2007

I. Introduction. Research goals and objectives page 3

II. Main part p. 5

The image of ideal love in the works of I. A. Bunin

1 . First worksp. 5

2. p. 6

3. "Dark alleys" -cycle of love stories with tr. 8

page 8

b) In search of the idealpage 9

at) The irrational side of love page 10

d) Involvement in eternity p. 12

1 . Love is the leitmotif of many workspage 14

2. First stories and stories of love page 15

3. "Olesya" and "Shulamith" - the poetry of a sincere

feelings p. 15

4. "Garnet bracelet". "The rarest gift of high love" p. 17

III. Conclusion p. 20

IV. Bibliography p. 21

I. Introduction

The theme of love is one of the "eternal" themes of art and one of the main ones in the work of I. A. Bunin and A. I. Kuprin, two Russian writers, whose names are often put side by side. The chronology of creativity (both were born in the same 1870), belonging to the same creative method - realism, similar themes, the highest level of artistry bring these writers closer in reader's perception. The theme of love, the disclosure of its influence on human life, occupies an important place in their works. The best creations - the cycle of stories "Dark Alleys", "Clean Monday", "Light Breathing" by Bunin, Kuprin's "Shulamith", "Olesya", "Pomegranate Bracelet" - belong to the world's masterpieces of prose, and they are dedicated to love, the most powerful human feeling. Both writers in their own way, within the framework of their worldview, interpret ideal love, and the style of the depicted is also different: if in Bunin “... a metaphor, an unexpected assimilation means a lot,” then Kuprin “accumulates a lot of everyday features necessary in that ... stately picture of everyday life, which develops as a result ".

Reflections on the irresistible power of love, attention to the inner world of a person, research into the subtlest nuances of human relationships and philosophical speculation of the laws of life - this is what gives writers a reflection on the possibility (or impossibility?) Of the embodiment of this ideal on earth.

Many researchers, in particular O. Mikhailov in the preface to Kuprin's collected works, note that in his works "romantic worship of a woman, chivalrous service to her opposes cynical mockery of feelings, depiction of depravity, ... but there is something hysterical in the chastity of Kuprin's heroes" ... An ambivalent attitude to love is also characteristic of Bunin: literary scholars I. Sukhikh and S. Morozov testify to this. In the monograph by O. Slivitskaya, this observation is based on the statement about Bunin's "organic unity of rapture with life and horror in front of it, characteristic of the era" .

The aim of this work is to study the creativity of I. A. Bunin and I. A. Kuprin in the aspect of love issues and the development of the question of the image of ideal love in the works of both authors.

The objective of the abstract research is to find out how the concept of “ideal love” is interpreted by I. A. Bunin and A. I. Kuprin, to compare and contrast, in what the commonality and difference of the concept of love in the works of these writers is manifested, based on the works of famous literary critics.

The methodological basis of the abstract was the research of I. Sukhikh, S. Morozov, O. Mikhailov, Y. Maltsev, O. Slivitskaya, as well as articles and memoirs of I. Bunin.

II. The image of ideal love in the work of I. A. Bunin.

1. First works.

From the fall of 1910 to the fall of 1925, Bunin created a cycle of works that, being outwardly unrelated to each other, are united by a deep internal connection determined by the peculiarities of the author's approach to the theme underlying them. This theme is love, interpreted as a strong, often fatal shock in a person's life, as a "sunstroke" that leaves a deep, indelible mark on the human soul. “Since I realized that life is climbing the Alps, I understood everything. I realized that it was all nonsense. There are several things that are unchanging, organic, with which nothing can be done: death, illness, love, and the rest is nothing, ”Bunin said to Galina Kuznetsova.

It is love that gradually becomes the main theme of his prose. He explores the “nooks and crannies of the human soul” in the stories “Mitya's Love”, “The Case of the Cornet Elagin”, the stories “Sunstroke”, “Ida”, “Mordovian Sarafan”, “Light Breath”. In these works, an awareness of love is manifested as a kind of “higher principle” that cannot exist in earthly life. “Love does not lead to marriage, it leads to the insight of the highest values \u200b\u200bof life, it gives an understanding of happiness. In the first stories and novellas, the feeling of love is not a quietly flowing happiness and not a vulgar romance. This is a fire that burns a flame, giving the knowledge of Being. But at the same time, this feeling is very short, like a moment of revelation. It is impossible to keep it, attempts to prolong it are pointless " ... The story "Sunstroke" is an example of such reflections.

2. Analysis of the story "Sunstroke"

This short story reflects with amazing clarity Bunin's understanding of love as an all-conquering passion, an element that suddenly embraces a person and absorbs all his thoughts. The work, devoid of exposure, begins immediately with the action: "After dinner we left the brightly and hotly lit dining room on the deck and stopped at the railings." The first impressions of the reader are associated with the sun and heat, this is the leitmotif of the whole story. The image of the sun, a feeling of warmth, stuffiness haunt the heroes throughout the entire work: a woman's hands will smell like a tan, a hotel room will be "terribly stifling, hotly heated by the sun", and the whole "unfamiliar town" will be saturated with heat.

The reader never knows the names of the heroes: "Why do you need to know who I am, what is my name?" - the stranger will say. Bunin erases everything that is individual,

thus, as if generalizing the feeling that gripped the man and woman. Everything else seems petty and unimportant, pushed into the background by the description of "too much love", "too much happiness."

The plot of the story is simple: meeting, intimacy, a dazzling flash of feelings and inevitable parting. The description of the meeting is dynamic and concise, based on the dialogue: "Let's get off ..." - "Where?" - "On this pier" - "Why?" Relationships are developing rapidly, irreversibly. - "Crazy ..." The beautiful stranger compares her feeling to an eclipse: "We both got a kind of sunstroke." This sunstroke, which no one expected, turns out to be the most significant of all that happened to them and, perhaps, will still happen.

The extremeness of feeling gives rise to the extreme acuity of perception: sight, hearing and other sensations of the heroes. The lieutenant remembers the smell of the stranger's cologne, her tan and her linen dress; the ringing of bells, the "soft clatter" of a steamer hitting the pier, the noise of a "boiling and running wave ahead." The story is unusually dynamic. The parting is described in several sentences: “... he drove her to the pier, kissed her in front of everyone. I returned to the hotel just as easily. " It seems that everything that happened is nothing more than an easy hobby. But in the future, the feelings of the lieutenant after parting are described, and it is with this description that most of the story is filled.

Left alone, the lieutenant begins to understand that nothing in his life was as significant as this fleeting meeting: “he, without hesitation, would die tomorrow if it were possible to return her by some miracle”. To show how the inner world of a person who has experienced such a shock is changing, the author uses antitheses: the dining room becomes "empty and cool", "everything was filled with immense happiness and great joy, and at the same time, the heart seemed to be torn apart." Everything everyday seems now wild and scary, he seems to live in another dimension: “But what is it with me? Where to go? What to do?" "He felt such pain and such a uselessness of his entire future life without her that he was seized by horror, despair."

The life of the soul in Bunin's image is beyond the control of reason. The heroes seem to have no power over themselves. An unknown woman, for example, says: “I am not at all what you might think of me…. It was like an eclipse came over me. " It is the "eclipse" that makes it possible to break out of the boundaries of the familiar world, the world of everyday things, and experience a still unknown feeling. Love is painful, it has no and cannot have a continuation, it is doomed to be finite. But it is in it that the meaning of life lies, even if only experience remains of it. A man, reflects Bunin, is essentially lonely, and the motive of loneliness in the story is reinforced in the description of the city: "... the houses were all the same, white, and it seemed that there was not a soul in them." The hero cries from loneliness and despair, being left alone with this "luminous and now completely empty, silent" world. The story ends with a laconic epilogue describing the dying "dark summer dawn", which personifies the transience of love, the irreversibility of the experienced happiness. The hero himself feels himself "ten years older."

"Sunstroke" contains all the components from which later the poetics of the mature Bunin will develop: the dialectic of life and death, creation and destruction, pleasure and torment. The understanding of a high feeling of love as a passion that captures all thoughts, all spiritual and physical capabilities of a person, was characteristic of the writer throughout his entire work. "Gradually, through" Sunstroke "and" Mitya's love ", the main, in fact, his only theme will remain the one that was elegiacly sung in" Antonov apples ":

Only in the world is there that shady

Dormant Maple Tent.

Only in the world is there that radiant

Childish pensive gaze.

Only in the world is there that fragrant

Cute head piece.

Only in the world is this pure

Running parting to the left.

3. "Dark alleys" -cycle of stories about love.

a) "Gloomy and cruel alleys"

In "Dark Alleys" the center of the universe for Bunin becomes a certain conventional picture: an old house, an alley of dark lindens, a lake or a river going to a station or to a provincial town, a washed-out road that will lead now to an inn, now to a steamer, now to a Moscow a tavern, then to the disastrous Caucasus, then to the luxurious carriage of the train going to Paris. Against the background of this conventional picture, stories of instant, spontaneous outbursts of feelings unfold. "All the stories in this book are only about love, about its" dark "and most often gloomy and cruel alleys" ... Bunin writes about special love. He describes as ideal, that is, the only true, love-passion, an indivisible unity of the spiritual and the carnal, a feeling that does not know about morality and duties, about duty, about the future, recognizing only the right to meet, to painfully sweet mutual torture and pleasure.

“I can imagine what you think of me. And in fact, you are my first love. - Love? "How else is it called?" ("Muse") .

Most of the stories from the cycle "Dark Alleys" are built according to a certain scheme that allows you to study in detail the "grammar of sunstroke": he (the hero) is a look and a word, a feeling and refracting prism. She (the heroine) is an object of feeling, painting and research. He is an artist, Pygmalion, she is a model, Galatea. Bunin investigates in particular cases the manifestation of a certain general law, looking for a universal formula of life, into which Love invades. Most of all, the author is interested in the mystery of the Woman, the mystery of the Eternal Femininity.

b) In search of the ideal

The writer stated: “that wondrous, unspeakably beautiful, something completely special in everything earthly, which is a woman's body,never written by anyone ... And not only the body. We must, we must try. Tried - it comes out muck, vulgarity. We need to find some other words. "

Bunin finds these words, trying to experiment with the plot, constantly looking for new and new perspectives, captures the fleeting and gives this fleeting solemn sound of Eternity.

“The body is not just the body. In essence, it is still antique, then medieval, then romantic collision of earthly love and heavenly love. " The simplest conflict between the earthly and the heavenly, between the spirit and the body, turns in the story "Camargue" the sale of a beautiful woman for a hundred rupees. Bunin's letter to F. Stepun can serve as a commentary on the Camargue, who noted in his review “a certain excess of consideration of female seductions”: “What an excess there! I gave only a thousandth part of what men of all tribes and peoples "consider" everywhere ... And is this only depravity, and not something a thousand times different, almost terrible? "Consideration is the starting point of the" other, almost terrible "that is revealed in many plots of the book.

“The thin, swarthy-dark face, illuminated by the brilliance of the teeth, was anciently wild. The eyes, long, golden-brown, looked somehow inside themselves - with a dull primitive languor .... Beauty, intelligence, stupidity - all these words did not go to her, just as everything human did not go ... "(" Camargue ") Beauty, painful, heavy bodily beauty is adjacent to Bunin's" thin collarbones and ribs "(" Business cards ") and even with "ripe beet-colored knees" ("Guest").

Ideal love is not the same as ideal beauty. But Bunin's concept of Beauty is equivalent to Truth, it is connected with the essence of being. In his understanding, in love, two principles are organically combined: the ultimate APPEARANCE and the ultimate SECURITY. What makes Bunin's texts erotic is not the abundance of "spicy" descriptions, but the image of passion at the limit, on the verge of fainting, "sunstroke." It seems that the whole world is around: all these inns, estates, hotel rooms, train compartments and cabins of steamers exist only to survive the sunstroke with a dull head and then remember this all my life.

at) The irrational side of love

V. Khodasevich wrote: “The subject of Bunin's observation and study is not the psychological, but the irrational side of love, that incomprehensible essence of it, which overtakes, like an obsession,god knows where fromand carries heroes towards fate, so that their usual psychologydisintegrates and becomes like "senseless chips" or debris spinning in a tornado. Not external, but internal events of these stories are irrational, and it is typical for Bunin that such irrational events are always shown to him in the most realistic setting and in the most realistic tones. Bunin's events are subordinate to the landscape. For the Symbolists, man defines the world by himself, for Bunin the world, given and unchanging, rules over man. Therefore, the Bunin heroes are so little striving to give themselves an account of what is the meaning of what is happening to them. Anythingknowledge about what is happening does not belong to them, but to the world itself, into which they are thrown and which plays by them through their incomprehensible laws " ... As Bunin himself writes about this, "I tried to catch that elusive thing that only God knows - the secret of the uselessness and at the same time the significance of everything earthly" .

The most important aspect of Bunin's poetics is the desire to recreate the world in its entirety and "divine aimlessness" ... The structure of his short stories recreates the structure of the world, gives rise to new types of "cohesion of events". Bunin achieves such an organization of his works in which the plot is not simplified into causal relationships, but carries a different, non-linear integrity. The plot plays a secondary role, the main thing is the unexpected parallels of the elements of the text, creating a kind of thematic grid: love - parting - meeting - death - memory.

Therefore, ideal love in the image of Bunin defies rationalistic explanation, but captures a person entirely and becomes the most important, most important life experience: “And then you walked me to the gate and I said:“ If there is a future life and we meet in it, I I will kneel there and kiss your feet for everything that you have given me on earth. " “And so, with a stopped heart, carrying it in me like a heavy cup, I moved on. From behind the wall a small green star gazed like a marvelous gem, radiant like the old one, but silent, motionless. " ("Late hour").

d) Involvement in eternity

Tracing the parallels between man and the world in which a man is depicted, the writer seems to equalize them. The personal, tiny microcosm of man is included by Bunin in the macrocosm of Eternity, and the sign of this is his participation in the sacrament of life through the sacrament of love. The universe for him is included in the living space of an individual, but this personality itself is similar to the universe, and a person who has cognized love becomes, like God, on the other side of good and evil. In evil there is good, and in good there is evil, like torment in love, and in happiness is the portent of death.

“Separation, like a clockwork, is built into the happiest meeting. Gloom thickens in dark alleys. The world of "Dark Alley" is ruled by love and death. "

The cycle “Dark Alleys” closes with the lyrical story “The Chapel”. The cross-cutting plot of "Dark Alley" (love and death) is reduced here to two short remarks of children peering through the window of the chapel, where "some grandparents and some other uncle who shot himself are lying in iron boxes": - Why did he shoot himself? “He was very in love, and when he was very in love, they always shoot themselves ...” But a trace of the experienced feeling remains. Bunin believed: the past exists as long as there is one who remembers. “And the poor human heart rejoices, consoles itself: there is no death in the world, no destruction to what was, what once lived! There are no partings and losses, as long as my soul, my Love, Memory is alive! " ("The Rose of Jericho")

Bunin's interpretation of the theme of love is associated with his idea of \u200b\u200bEros as a powerful elemental force - the main form of manifestation of cosmic life. It is tragic in its essence, as it carries disharmony, chaos, violation of the usual world order. But this feeling, although painful and agonizing, is still the crown of the life lived, giving the realization of an indestructible memory,the memory of humanity.

“- Though is there really unhappy love? She said, lifting her face and asking with all black opening of her eyes and eyelashes. "Doesn't the most mournful music in the world bring happiness?" ("Natalie")

“In the end, Bunin turns the physics of sex and the metaphysics of love into a disembodied, dazzling light of memory. "Dark alleys" - restoration of instant love in the eternalthe time of Russia, its nature, its past frozen in its bygone splendor. "

Thus, the essence of ideal love is revealed in Bunin's work as a great tragedy and great happiness. Man - the only being on earth, belonging to two worlds: earth and heaven - combines in himself the carnal and spiritual principles. The feeling of a catastrophic and finiteness of life, of a person's doom to loneliness enhances the feeling of a catastrophic era, discord in society, social cataclysms. Ideal love is a gift of fate, an opportunity to overcome the fear of death, to comprehend the meaning of being, even for a short moment to forget about the universal loneliness and realize that you are a part of Humanity. The only indisputable truth is love, it does not require justification and itself justifies everything ... “In essence, only two or three lines can be written about any human life. Oh yeah. Only two or three lines " .

These Bunin lines are about love.

The image of ideal love in the works of A. I. Kuprin

1. Love is the leitmotif of many works.

“Kuprin has one cherished theme. He touches her chastely, reverently and nervously. Otherwise, you can't touch her. This is the theme of love. "

In the work of the writer, she found embodiment in a variety of subjects. In them, Kuprin proclaims unshakable humanistic ideals: the moral and aesthetic value of earthly existence, the ability and aspiration of a person to high and selfless feelings. But, on the other hand, in the inner world of the personality, the writer clearly discovers the dark stamp of the tragic and painful contradictions of the era, “the quiet degradation of the human soul” (“The River of Life”). His artistic task is to comprehend the essence of Man with his rich naturalopportunities and painful distortions caused by a sense of the imperfection of the world.

Kuprin paints this world full of contradictions, where only love becomes a source of sublime experiences that can transform the human soul. The artist worships the creative power of genuine feeling as opposed to cynicism, indifference, and premature mental old age. He praises the "omnipotent power of beauty" - the happiness of bright, full-blooded emotions.

Love in his works is a great and natural all-conquering power over a person. The degree of its influence on the personality is incomparable with any sensory experience, and it is conditioned by nature itself. Love cleanses and shapes the soul, and in all its manifestations: both as a "gentle, chaste fragrance" and as a "thrill, intoxication" of pure passion... The search for ideal love in literature for him is the search for a harmonizing beginning in the world, faith in the initially good nature of man.

2. The first stories and stories of love.

Alexander Ivanovich Kuprin spoke about love: this is a feeling "which has not yet found an interpreter for itself." Many of his stories - "A Strange Case", "The First Comer", "Sentimental Romance", "Autumn Flowers" - embody a gravitation towards elusive experiences, "to the elusively subtle, inexpressibly complex shades of moods", "the spiritual fusion of two people, with where thoughts and feelings are transmitted by some mysterious currents to another. " The dream still remains unfulfilled, a suspicion arises: “only hope and desire constitute real happiness. Satisfied love dries up ... "This love is destroyed in a" dull and indifferent life ", is supplanted by sensual pleasures, against which" honor, and will, and reason are powerless. " The story "The Wheel of Time" (1930) is dedicated to the glorification of the "great gift of love", of pure, unselfish feelings. A burning, seemingly extraordinary in strength feeling of the protagonist is devoid of spirituality and chastity. It turns into an ordinary carnal passion, which, having quickly exhausted itself, begins to weigh on the hero. "Mishika" himself (as his beloved Maria calls him) says about himself: "The soul is empty, and there is only one body cover left." .

The ideal of love in these stories is unattainable.

3. "Olesya" and "Shulamith" are poetry of sincere feelings.

In the early story "Olesya" Kuprin depicts a heroine who grew up in the wilderness, brought up by nature itself, not affected by the vices of civilization. Olesya retains in her pure form that enormous innate potential that modern people uselessly spend in the daily bustle. Here love becomes a poetic interpretation of the "natural", "correct" life, true and sincere, as Kuprin sees it. It is a hymn to vitality, frantic - and finite in its fury. Love for the heroine is not a flight, it is a beautiful, desperate flap of wingsbefore falling into the abyss. The plot is based on the opposition of the world of Olesya and the world of Ivan Timofeevich. He perceives the relationship with Olesya as "a naive, charming fairy tale of love," she knows in advance that this love will bring grief. His feeling gradually diminishes, he is almost afraid of her, tries to delay the explanation. He thinks first of all about himself, his thoughts are selfish: "Well, good and learned people marry in sewing clothes, maids ... and live beautifully ... I won't be more unhappy than others, really?" And Olesya's love is gradually gaining strength, revealing itself, becoming selfless. The pagan Olesya comes to the church and barely escapes from the brutal crowd, ready to tear the "witch" apart. Olesya turns out to be much taller and stronger than the hero, this strength lies in her “naturalness”. She, possessing the gift of foresight, realizes the inevitability of the tragic end of their short happiness. But in this self-denial of her, a real hymn of sincere love sounds, in which a person is able to achieve spiritual purity and nobility. Death of love (or death for love) is interpreted by Kuprin as inevitability.

But Kuprin does not make absolute the power of death: in the story "Shulamith" the power of true love is transformed into the inexhaustible energy of creation. "... strong, like death, love" - \u200b\u200bthis epigraph concentrates in itself the life-affirming principle of true feelings. The biblical story about the Israeli king and the "girl from the vineyards" reveals Kuprin's idea of \u200b\u200bthe possibility of souls' merging, which transforms the very meaningexistence. If at the beginning of the story Solomon is convinced that “everything in the world is vanity and vexation of the spirit,” then love gives himnew understanding Being. The world opens up to lovers in all the wealth andfestive colorfulness: "honeycomb dripping from your lips", "corals are turning redder on her dark chest", "turquoise on her fingers has come to life." Love allows you to revive dead objects, makes you believe in the possibility of immortality: “... everything in the world repeats itself - people, animals, stones, plants are repeated. We repeat ourselves with you, my beloved. " Love is portrayed by Kuprin without dark instincts and is interpreted as creation, a creation that has power over life and death: it is no coincidence that in the finale, King Solomon begins to write the Song of Songs, thereby immortalizing the name of Sulamith.

4. "Garnet bracelet". "The rarest gift of high love."

In the story "Pomegranate Bracelet", the author draws ideal, extraordinary and pure love. Kuprin himself would later say that he did not write "anything more chaste". It is characteristic that great love strikes the most ordinary "little man" - an official of the control chamber, Zheltkov, bending his back at the clerical table. The special strength of the "Pomegranate Bracelet" is given by the fact that love exists in it as an unexpected gift - poetic and illuminating life - in the midst of everyday life, in the midst of the sober reality of an established life.

"Vera Nikolaevna Sheina always expected something happy and wonderful from the name day." She receives a gift from her husband - earrings, a gift from her sister - a notebook, and a bracelet from a man with the initials G. S. Zh. This is a gift from Zheltkov: "golden, low-grade, very thick ... from the outside all covered with ... grenades." It looks like a gaudy trinket compared to other gifts. But its value lies elsewhere: Zheltkov gives the most precious thing he has - a family jewel. Vera compares the stones on the bracelet with blood: "Exactly blood!" she exclaims. The heroine feels anxiety, sees some bad omen in the bracelet.

The decoration of red with a through thread runs through Kuprin's works: Sulamith had a "necklace of some red dry berries", Olesya leaves a string of cheap red beads, "corals" as a souvenir ... Red is the color of love, passion, but for Zheltkov it is a symbol hopeless, enthusiastic, unselfish love.

If at the beginning of the story the feeling of love is parodied, since Vera's husband makes fun of Zheltkov, who is not yet familiar to him, then the theme of love is revealed in inserted episodes and acquires a tragic connotation. General Anosov tells his story of love, which he remembered forever - short and simple, which in retelling seems to be just a vulgar adventure of an army officer. “I don’t see real love! Yes, and in my time did not see! " - says the general and gives examples of ordinary, vulgar alliances of people, concluded according to one calculation or another. “Where is love? Selfless love, selfless, not expecting a reward? The one about which it is said - is strong as death? Love must be a tragedy. The greatest secret in the world! " The conversation about love brought up the story of a telegraph operator who loved the princess, and the general felt its truth: “maybe your life path, Vera, crossed exactly the kind of love that women dream about and which men are no longer capable of”.

The rarest gift of high love becomes the only content of Zheltkov's life, “nothing of everyday life” disturbs him. The everyday sphere, in which all the other heroes live - Anna, Tuganovsky, Shein, Vera Nikolaevna herself - is contrasted with the triumph of the spiritual, the immaterial, the symbol of which in the story becomes music. Beethoven's Sonata voices "a tremendous tragedy of the soul", as if continuing the refrain "Hallowed be thy name." In Vera Nikolaevna, accidentally seen by Zheltkov in a box in the circus, "all the beauty of the earth" is embodied for him. In Kuprin's understanding, beauty is associated with a certain final, absolute truth, a “deep and sweet secret,” which only a loving, selfless heart understands. By the greatness of the experienced feeling, an insignificant official with a ridiculous surname is equated by the Kuprins with the "great sufferers" Pushkin and Napoleon. Zheltkov's life, imperceptible and shallow, ends with “all pacifying death” and a prayer for Love.

A special case, an incident from life (Zheltkov and Vera Nikolaevna had real prototypes) was poeticized by Kuprin. Ideal love, according to the writer, is "always a tragedy, always a struggle and achievement, always joy and fear, resurrection and death." This is a rare gift, and you can "pass by it" because it happens "only once in a thousand years."

Ideal love for Kuprin is the highest bliss that a person can find on earth. This is the possibility of creation, inextricably linked with creativity. Only in love can a person express himself: “Not in strength, not in dexterity, not in intelligence, not in talent ... individuality is expressed. But in love! " it feeling, even undivided,in itself becomes the pinnacle of life, its meaning and justification. Showing the imperfection of social relations, Kuprin finds in ideal sublime love the focus of harmony with the world and with himself. Love and the ability to love is always a test of the hero for humanity.

III. CONCLUSION.

Bunin and Kuprin are writers in whose work the image of ideal love is vividly revealed. They are characterized by close attention to all aspects of this feeling: both sublime and sensual, "earthly", for which both were often reproached for the excessive naturalism of love scenes. For both Bunin and Kuprin, a love conflict becomes a starting point for reflections on human nature, on the laws of human existence, on the brevity of life and the inevitability of death. Despite the difference in perception of the world, common features can be traced in their views: love is portrayed as an all-consuming element, before which the human mind has no control. It brings with it the opportunity to become familiar with the mysteries of Being, an awareness of the uniqueness of each human life, the value and uniqueness of each lived moment. But Bunin's love, even ideal, bears the stamp of destruction and death, and Kuprin praises it as a source of creation. For Bunin, love is a "sunstroke", painful and blissful, for Kuprin it is a transformed world, full of the deepest meaning, devoid of the bustle of everyday life. Kuprin, piously believing in the initially good nature of man, gives him the opportunity to become perfect in love. Bunin, on the other hand, explores the "dark alleys" of the human soul and compares the tragedy of love with the tragedy of the human race. But for both Kuprin and Bunin, true, ideal love is always the highest, ultimate point of a person's life. The voices of both writers merge into "passionate praise" of love, "which alone is dearer than wealth, glory and wisdom, which is dearer than life itself, because even life it does not value and is not afraid of death."

IV. BIBLIOGRAPHY

Kuprin A.I. Collected works in 2 volumes. Foreword by O. N. Mikhailov. - M., Fiction, 1980

Bunin I. A. Collected works in 9 volumes. - M .: Fiction, 1967

A.I. Kuprin. Favorites. - Moscow, Soviet Russia, 1979 g.

A.I. Kuprin. Favorites. - Moscow, Children's Literature, 1987.

Yu. Maltsev. I. A. Bunin. / in the book: I. A. Bunin. Favorites. - M .: 1980

I. A. Bunin. Cursed days. Memories. Articles / Compiled, foreword, comments A.K.Baboreko. - M .: Soviet writer, 1990.

I. A. Bunin. Letters, memories. / in the book: Non-urgent spring - Moscow, School-press, 1994

I. A. Bunin. "Antonovskie apples". Murmansk Book Publishing House, 1987

A.I. Kuprin. Letter to Batyushkov / in the book: A.I. Kuprin. Favorites. - Moscow, Soviet Russia, 1979, p. thirteen

The theme of love in the works of Bunin and Kuprin, two Russian writers dating back to the first half of the 20th century, is common in their works. The heroes of their stories and stories are characterized by extraordinary sincerity and strength of feeling. It subjugates all human thoughts. However, the theme of love in the works of Bunin and Kuprin is almost always revealed tragically. The main characters are invariably doomed to suffering. In order to maintain their feelings, they should part forever. We see such an ending in all the stories of Ivan Alekseevich. The topic of tragic love is disclosed in great detail.

Love in the works of Bunin

The heroes of his works live in anticipation of love. They strive to find her and often die, burned by her. This feeling in his works is selfless, disinterested. It requires no reward. One can say about such love: "Strong as death". It will be a joy for her, and not a misfortune to go to torture.

Bunin's love does not last long - in marriage, in the family, in everyday life. This is a dazzling short flash that illuminated to the very depths of the hearts and souls of lovers. A tragic ending, death, nothingness, suicide is inevitable.

Ivan Alekseevich created a whole cycle of stories dedicated to the description of the various shades of this feeling. In it, you probably won't find a single piece with a happy ending. The feeling described by the author is, one way or another, short-lived and ends, if not tragically, then at least dramatically. One of the most famous stories in this cycle is Sunstroke.

In it, the heroine goes to a monastery, and the hero suffers from longing for her. He loved this girl with all his soul. However, in spite of everything, his feeling for her remains a bright spot in his life, albeit with an admixture of something mysterious, incomprehensible, bitter.

Love of the heroes of the works "Olesya" and "Garnet Bracelet"

The theme of love is the main theme in Kuprin's work. Alexander Ivanovich created many works dedicated to this feeling. In the story "Olesya" by Alexander Ivanovich Kuprin, the heroine fell in love with a "kind, but only weak" person. The theme of tragic love in Kuprin's work is also revealed in his other work - "Pomegranate Bracelet".

The author tells the story of a poor employee Zheltkov, describing his feelings for a wealthy married princess Vera Nikolaevna. For him, the only way out is suicide. Before performing it, he says, like a prayer, the words: "Hallowed be thy name." In Kuprin's works, heroes may seem unhappy. However, this is only partially true. They are already happy that in their life there was once love, and this is the most wonderful feeling. Thus, the theme of tragic love in Kuprin's work has a life-affirming connotation. Olesya from the story of the same name regrets only that she did not have a child left from her beloved. Zheltkov dies, pronouncing a blessing on his beloved woman. These are romantic and beautiful love stories that are so rare in real life ...

The heroes of Kuprin's works are dreamy personalities endowed with an ardent imagination. However, they are at the same time laconic and impractical. These traits are fully revealed after they pass the test of love.

So, for example, Zheltkov did not talk about love for Vera, thereby dooming himself to torment and suffering. However, he could not hide his feelings, so he wrote letters to her. Zheltkov from the story "Pomegranate Bracelet" experienced an unrequited, sacrificial feeling that completely seized him. It would seem that this is a petty official, an unremarkable person. However, he had a truly great gift - he knew how to love. He subordinated his whole being, his whole soul to this feeling. When her husband asked him not to bother her with his letters anymore, Zheltkov decided to leave this life. He simply could not imagine existence without a princess.

Description of nature, opposition of love and life

Kuprin's description of nature plays a very important role. She is the background against which events take place. In particular, the love that broke out between Ivan Timofeevich and Olesya is presented against the background of a spring forest. The theme of love in the works of Bunin and Kuprin is characterized by the fact that in the works of these authors a high feeling is powerless in front of ambitions, calculation and the cruelty of life. After a collision with everyday life, it disappears. Instead, only a feeling of satiety remains.

Love is passing by

In the works of these authors, life and love, everyday life and this high feeling cannot be combined. However, it also happens that people, not noticing their happiness, pass by him. And from this side the theme is revealed. For example, the heroine of the "Pomegranate Bracelet" Princess Vera late notices Zheltkov's feelings for her, but at the end of the work she learns what all-consuming, disinterested love means. For a brief moment, she illuminated her life.

Human imperfection and life-affirming moments

In the person himself, there is probably something that prevents all of us from noticing goodness and beauty. This is selfishness, which is often expressed in the desire to be happy at any cost, even if the other person suffers from it. In the works of Kuprin and Bunin, we find all these reflections. However, despite the drama that is present in them, in the stories and stories, you can see something life-affirming. A high feeling helps the characters of Kuprin and Bunin to go beyond the circle of vulgarity and routine that surrounds them. And it doesn't matter that only for a moment, that the price of this moment is often a whole life.

Finally

So, we answered the question of how the topic is revealed.In conclusion, we note that the stories and stories of these authors teach us the ability to discern a real feeling, to be able not to miss it and not hide it, because one day it may be too late. Both Bunin and Kuprin believe that love is given to a person in order to illuminate his life, to open his eyes.

It can be noted that both the one and the other author in works dedicated to this feeling, most often resort to the reception of contrast. They contrast in their stories and novellas two lovers. These are different people both morally and spiritually. In addition, they often have a big difference in social status.

3.Love in the works of Kuprin

4. Conclusion

A.I.Bunin and A.I. Kuprin are the greatest Russian writers of the first half of the 20th century, who left behind a very rich artistic heritage. They were personally acquainted, treated each other with great respect, had similar views on the development of the country, both left Russia after the October Revolution (however, Kuprin returned to the USSR before his death).

Much attention in the works of Bunin and Kuprin is paid to the theme of love. The writers interpreted and described this feeling each in their own way, but they were united in one thing: love is a great mystery, over the solution of which humanity has been struggling unsuccessfully throughout world history.

The final work of Bunin was a cycle of love stories "Dark Alleys", written by the writer in exile. This collection of short stories reflects the writer's attitude to love, as to an incredibly bright flash in the life of any person, making him forget about everything in the world.

For Bunin, love is not a quiet and serene happiness that lasts for many years. This is always a maddening stormy passion that suddenly arises and just as suddenly leaves the lovers. Usually it covers a person only once in a lifetime, so it is very important not to miss this moment. Regrets about lost love will be the worst torment.

Bunin's concept of love is closely related to the feeling of inevitable tragedy, and sometimes death. Passion in "Dark Alleys" is most often criminal, so the main characters will face an inevitable reckoning. In the story of the same name that opens the cycle, an old nobleman accidentally meets a peasant woman who was deceived by him in his youth. Their fates were unsuccessful, and the novel of thirty years ago remains the purest and brightest memory.

The artist from the story "Galya Ganskaya" cannot forgive himself the most "grave sin" when a young girl was poisoned through his fault. After a single happy night, the main characters of Clean Monday part forever: the man begins to drink too much, and the woman leaves for the monastery. For the sake of brief moments of happiness, lovers are ready to take risks, because only love makes their life truly complete and significant.

Unlike Bunin, Kuprin was very reverent and enthusiastic about love. The writer considered it a real gift from God and linked it, first of all, with self-sacrifice. The heroes of his works are ready to go through suffering and pain for the sake of their loved ones. Kuprin's love is not a sudden outburst of passion, but a strong and deep feeling that does not subside over the years.

The love theme is touched upon in many of Kuprin's works. Among them are the story "Lilac Bush", the story "Olesya" and "Pomegranate Bracelet". In the short story "Lilac Bush" the main role is played by the image of Vera Almazova. A young woman does her best to help her husband enter, and then study at the academy. Vera's decisiveness and persistence help to "correct" Nikolai's unfortunate mistake. Her actions are due to a great feeling of love for her husband and concern for the preservation of the family.

In the story "Olesya" love comes to the protagonist in the form of a young "Polissya witch". At first, simple friendships are struck between them. Young people enjoy spending time together. They behave naturally and very chastely: "Not a word has yet been said about love between us." The main character's illness and several days of separation from Olesya led to mutual recognition. The happy romance lasted for about a month, but ended in tragedy. For the sake of her beloved, Olesya decided to come to church and was beaten by village women. After that, she herself insisted that she would have to leave: "There will be nothing but grief for us ...".

The story "Pomegranate Bracelet" is dedicated to this type of love, which is very rare in real life. The unfortunate Zheltkov has been hopelessly in love with Princess Vera Nikolaevna for eight years. He does not demand anything from a married woman and does not hope for reciprocity. Zheltkov's admiration for the princess amazes even her husband. "Hopeless and polite" love cannot be forbidden. Vera Nikolaevna herself only after Zheltkova's suicide realizes that unearthly love, which is "strong as death", passed by her.

The works of Bunin and Kuprin about love illuminate many facets and shades of this feeling. Most of the stories end tragically. Both writers were convinced: true love is too far from earthly passions and much stronger than death.

People are constantly looking for an answer to the question: what is true love? Great poets and writers also tried to find the answer to this question. Many have described these feelings in countless poems, songs and novels. But no one could solve this mystery to the end. That is why it is quite popular and widespread in literature. It is difficult to assess the place that this feeling occupied in the life of the ancestors. Both Bunin and Kuprin did not bypass the theme of love. When you read their stories, you understand that love is a rather spontaneous and unpredictable feeling, while experiencing its great gift, which does not fall on everyone in life.

In Kuprin's work, the theme of love is key. He says that attraction and passion is a rather mysterious and all-consuming feeling, which actually has no boundaries. At the same time, he notes that for each person it has its own special meaning, but despite everything, it must be pure and sublime. Perfectly the meaning of love for Kuprin emphasizes the work "Olesya". He talks about the fact that a girl is able to show generosity and dedication to a person who does not have such spiritual depth. At the same time, she immediately understands that the outcome of these relations will be tragic, and the pressure of society will be very strong. None of them were able to give up their existing way of life. Thus, the author shows that love is a strong enough feeling capable of overcoming any situation.

In Bunin's work, love is positioned as a rather crazy and passionate feeling, unbridled happiness that ends very quickly, and the fleetingness of the moment is realized only after a while. At the same time, feelings in Bunin's works always end practically tragically. The writer's love does not pass into a family course, the author deprives young people of the opportunity to live happily ever after, everything develops into a habit that deprives the feeling of passion and the possibility of development. And love, caused by habit, is much worse than love, which is caused by passion and lightning impulse of the soul. But at the same time, feelings remain eternal in the memory and in the memories of the heroes, which allow them to live on, but at the same time, prevent them from finding happiness in life.

What is true love? No one can give an exact answer. Each person has his own experiences and associations associated with this deep feeling, many experience both pain and happiness, both joy and real suffering. Both Bunin and Kuprin show love as it really is. She cannot be perfect, and feelings often lead to a tragic conclusion. But at the same time, not everyone can experience this great feeling, many live only out of habit, without real passion for those who are nearby. And passion and attraction, which develops into love, are experienced by a few, and even fewer people find it mutual and can carry it throughout their lives.

Option 2

Many writers in Russian literature were worried about love issues. This topic was brightly covered in the pages of famous works. Bunin and Kuprin were no exception.

Kuprin can be called with particular accuracy the master of the love theme, since in his work he illuminated the lofty feelings in 3 of his works. One of the most famous works was The Pomegranate Bracelet, where the reader can understand the problem of the tragic love of a “little man”. 8 years of irresponsible love of a simple telegraph operator for a woman of the world show us the tragedy of these feelings. All his letters sent to the woman were the subject of ridicule and mockery of wealthy people. Vera Nikolaevna also does not take these feelings seriously. But her brother is especially indignant when he learns that this commoner unworthy of the princess is giving her a pomegranate bracelet.

The surrounding people consider the telegraph operator's love to be abnormal, but the old general Anosov considers such feelings for a woman a gift of fate. The young man, unable to withstand the cruelty and insults from the people, dies without waiting for reciprocal feelings. We see that the writer considers love here as a purely moral and psychological feeling. In the words of General Anosov, love feelings can be secret and no compromise can break them. Love, according to the writer, should be based on mutual and trusting relationships. No less striking work was his story "Olesya", where Kuprin showed the cruel world of capitalist society with its vices. The love of a nobleman with a simple girl from the wilderness also ends on a sad note. Their relationship is impossible. The great feeling of love is sung in yet another story "Shulamith".

Bunin, creating works on love themes, is shown to us as a talented person who knows how to show a bright feeling. The peculiarity of his work was that the writer considered love to be a tragedy that can destroy a person. It is love that represents the element that can fill a person's life with suffering and excitement, and can simply turn it over. So this theme is shown in the story "The Grammar of Love", where the landowner Khvoshchinsky was struck by the charm of a maid and fell in love. The hero Ivlev, who came to this house, reflects on how this feeling so captured the landowner. The writer was mainly interested in earthly love, and to experience it is a great happiness. However, it has long been noticed that the stronger the love, then it will soon end. But it will remain in the heart. So, in the story "Dark Alleys", Nadezhda carried her feelings for the landowner through her whole life. And the master recalls that although that time has passed, he had bright moments with this woman. When you read his works, you will notice that his love is never happy. But the writer believed that all love is happiness for a person.

Love in the works of Kuprin and Bunin

Bunin and Kuprin are Russian writers, their work belongs to the first half of the XX century. They both worked on the theme of love. In their works, love is filled with tragedy, and this contributes to the fact that readers worry about the heroes of the books, pass the story through themselves.

In Bunin's works, love always brings suffering. The heroes always part, while receiving incurable mental wounds, some seek to commit suicide. Love acts as a disinterested, but passing feeling that covers up your head, without demanding anything in return.

In the period from 1937 to 1944, Bunin was working on a collection of stories "Dark Alleys", it contained stories about love. The pattern is that all works have a tragic end. The most famous story included in the collection is "Sunstroke". In this work, the heroes love sincerely, with all their hearts.

The story describes the problem between young people in love with each other, their difficult separation and their internal contradictions. The story describes a meeting of two people on the deck of a ship, a spark ran between them, and they run away from the crowd. They rent a hotel room and indulge in passion. But in the morning they were about to part, there were tears and vows of love. Then they decided it was just sunstroke. At this moment, the meaning of the name is revealed, it turned out that the sunstroke symbolizes an unexpectedly surging feeling. With this story, the writer shows that real feeling comes suddenly.

Kuprin was a master of images. He made his characters bright and memorable. He knew how best to reveal human character in love. Kuprin shows love as a bright feeling, and not a short-term passion. But he, like Bunin's, stories end tragically. The heroes have to fight for love, with the whole world.

In Kuprin's work, the theme of love is the most important. Love affects everyone in its own way. But the most important thing is that this feeling is mutual.

Both Bunin and Kuprin show real love, without hiding anything. Love is not perfect, and sooner or later you have to pay for everything and everyone has their own pay.

Both writers put their heroes in such conditions that love makes them unhappy. It's about public relations. In the story "Sunstroke", the lieutenant falls in love with a married woman with whom he had a romantic adventure. The same with Kuprin in Zheltkov's "Pomegranate Bracelet", was captured by a feeling for the married princess, ousted everything else from his life.

Ivan Alekseevich Bunin and Alexander Ivanovich Kuprin wrote many works, the main theme of which is love.

Sample 4

Two Russian writers - Bunin and Kuprin, are counted in the first half of the 20th century. In their works, the main theme was love feelings. Their stories convinced, and to this day they are convincing, that one can completely immerse oneself and be imbued with the sincerity and impeccability of such an inspired feeling as love. Also, these literary works of the native classics are endowed with tragedy, which often pushes the reader to suffer and regret along with the main characters.

In all small works of Ivan Alekseevich, the characters must part, they receive incurable heart injuries and even commit suicide. Love feelings in his literary works are not eternal, in addition to everything else, these generous emotional feelings do not require anything in return. Bunin's characters want to find these indescribable tender feelings, but they are burned by them.

In 1944 Bunin finished the book Dark Alleys, to which he added small prose works about love relationships. In this cycle, it turns out that it is impossible to find a story without an unhappy or difficult ending. One of the famous stories in the book is Sunstroke. The main theme is love feelings, ideal and untouched. The characters in this literary work were loved not only physically but spiritually.

The work lined up conflicts between a couple in love, their partings and spiritual differences. There were two main characters - the lieutenant and the unknown beauty. The guy and the young lady met on the deck of the ship, in which there was a lunch break. A spark flashed between them and the young man convinced his new girlfriend to run away from outside society. They immediately went to the hotel complex, in which there were only them and the flame of love, which immediately possessed them. In the morning, the main characters needed to leave each other, but this became a problem for them. The lieutenant and the unknown beauty decided that it was heatstroke. This is where the subtext in the title of the story opens. Here heatstroke is a sign of an unforeseen experience, a love relationship that turns off the head. Following this, the lieutenant sends for his beloved to the deck and begins to kiss her in full view, it seems, this is heatstroke again.

Then the young man is in a vicious circle of his conclusions, that if she has a family and they are not destined to be together. He dreams of writing her a message, but has no idea where she lives. With this literary work, the writer informs readers that the most, that neither is love feelings, arise unexpectedly and fall like snow on their heads.

In relation to Kuprin, one can say that he is the creator of images. He delved deeply into the spiritual world of the characters and made them extremely light and memorable. The writer was aware of where human natures are best revealed - in love feelings. Alexander Ivanovich love as a great and bright sensation, not a short attraction. But many of his creations carry tragic features. The main characters and their love relationships will face a ruthless duel. The main quality of this author's creations was the personality that Kuprin was able to show so vividly in the field of human emotions, or rather, in love relationships.

The composition of Svidrigailov and Dunya in the novel Crime and Punishment

Avdotya Romanovna was the governess of Svidrigailov's children. Because of his harassment and persecution, she was unjustly slandered and expelled from her place by his wife Martha Petrovna

Serebryakova Z.E.

The famous artist Zinaida Evgenievna Serebryanskaya was born on November 28, 1884 near Kharkov. His father was a sculptor, and his mother was from the Benois family. She owes her artistic development to her family

Story plan Astafiev Grooming Skrip

Squeak, together with his brothers and sisters, hatched from an egg in a warm mother's nest. They could only see a small spot of light from their nest on the river bank.

The theme of love was one of the main themes in the works of 20th century writers. Love has been written about in all ages, and even with the advent of modern times, it does not go unnoticed. This problem worried all generations of writers, among whom were A. Kuprin and I. Bunin. In the prose of A Kuprin, I. Bunin and other major artists of the era, a common aspiration was uniquely expressed. The writers were attracted not so much by the history of the relationship of a loving couple or the development of her psychological duel, as by the influence of the experience on the hero's comprehension of himself and the whole world.

The endless spiritual possibilities of man and his inability to realize them - that is what worried A. Kuprin, and was already captured in his early stories. The awakening of personality Kuprin closely associated with the eternal feeling of love.

In Kuprin's prose of the 1890s-early 1900s, there are many stories about the death of love, the fragility of love unions. The author's initial attraction to beauty and self-sacrifice is very important. Especially dear to Kuprin were solid, strong natures.

"Garnet Bracelet" is one of the most remarkable pieces in Kuprin's work.

The rarest gift of unrequited worship of a woman - Vera Sheina - became "tremendous happiness", the only content, the poetry of Zheltkov's life. The phenomenal nature of his experiences raises the image of a young man above all others. Not only the rude, narrow-minded Tuganovsky, Vera's brother, her sister, a frivolous coquette, but also the clever, conscientious Shein, the heroine's husband, who reveres love as Anosov's “greatest secret”, the beautiful and pure Vera Nikolaevna herself, are in a clearly reduced everyday environment.

From the first lines there is a feeling of wilting. This can be traced in the autumn landscape, in the sad appearance of uninhabited dachas with broken glass. All this is associated with the monotonous life of Vera, whose calmness is disturbed by Zheltkov.

Not finding reciprocal love, Zheltkov decides to leave this life without permission. The psychological culmination of the story is Vera's farewell to the ashes of Zheltkov, their only "date" is a turning point in her spiritual state. Only with his death, Sheina learns about true love, which she never had.

Bunin's prose reflects dislike rather than love. Nevertheless, the attraction to this feeling is full of poetry and passionate power.

He created the wonderful story "Mitya's Love". Its plot is very simple. Mitya's beloved Katya swirled in a fake, bohemian environment and cheated on him. The suffering of the young man constitutes the content of the story, and ends with suicide.

In both works, a tragic ending is traced, which was inevitable.

A person cannot live only with his heart and only in a woman or in a man can find the whole meaning of life: so he could reach the very opposite of true love - to selfishness.