Composition
The theme of love is an eternal theme. It will never lose its relevance. There are many poems, songs, poems and stories about love. And each author defines in his own way what love is for him. And how to make sure that this is really true love. A striking example such works as: “The Master and Margarita” by Bulgakov, in which lovers go through all the difficulties of life and ultimately remain together; “The Phantom of the Opera” by Leroux, where again the main characters Christina and Raoul, after long “battles”, run away together “to the ends of the world”, however, one heart is still left broken...
One can list endlessly all the works about love, but still, among all this multitude, the works of two Russian classics stand out: Ivan Alekseevich Bunin and Alexander Ivanovich Kuprin. These great prose writers lived in the late 19th and early 20th centuries. But to this day, reading their works, one cannot help but notice their relevance. These personalities are of particular interest because their ideas about love were so similar that we can safely call them the same.
In the story “The Garnet Bracelet,” a conversation ensues between Vera and Anosov, in which Kuprin, on behalf of his hero, tries to explain what love is: “Where is love? Is love unselfish, selfless, not waiting for reward? The one about whom it is said “strong as death”? You see, the kind of love for which to accomplish any feat, to give one’s life, to suffer torment is not work at all, but pure joy. … Love must be a tragedy. The greatest secret in the world! No life conveniences, calculations or compromises should concern her.” Even without reading his stories, just from these lines we understand that in his works we will not see either passionate speeches or happy lovers holding each other’s hand and “going off into the sunset.” The author wanted to show true love, not invented, but from our lives.
Other stories by the authors were written using the same principle. For example, " Clean Monday» Bunina. In the story, we immediately notice the absence of the names of the main characters, and by this the author wants to show that anyone can be in their place and this once again emphasizes the vitality of the work. And it seems that nothing “foreshadowed trouble,” but the lovers eventually parted. And there is no particular tragedy in this, but on the contrary, as if this is how real and sincere love should look.
Love in reasoning has limitless meaning. Many people express it in their own way. The skill of transformation excites the mind. What are the transitions and expressions of Kuprin and Bunin’s feelings in their works. The beauty of the word, bewitching at once, permeates the lines of such famous works like "Garnet Bracelet" and " Dark alleys».
Both poets characterize love as a sacrificial, light, volatile, soaring and vulnerable feeling “from the word evil tongue and depravity of speech." The main characters of the works experience the feelings of their creators, they are the embodiment of lonely and unbridled love, the frantic power of attraction and rejection, unquestioning decisions, madness and at the same time lightness. What is love according to Kuprin and Bunin? And what is their role?
Many poets of the 18-19 centuries of Golden Rus', such as Pushkin, M.V. Lermontov and other poets of that time built a similar meaning of the embodiment of the white bird of love, hope and calmness.
The reminder of this “caste of poets” is not accidental. Because for many years greatest poets Russian poetry and lyricists tried to build a certain algorithm for the manifestation of love in their works, no matter how rude it may sound. Kuprin and Bunin were not afraid to show unbridled love and expose it to the public; without any restrictions, the reader accepts this feeling and experiences it together with the poet and the heroes of the works. The theme of love in the works of Bunin and Kuprin has 3 aspects in its style:
- Exemplary import
- Theoretically-textured
- Allegorical-mathematical;
Each of these aspects is connected by one similar thing - they all have a single goal in their own way, they connect the unique feeling of love in the work with a feeling of sacrifice, affection, warmth of penetration. But there are also differences between the styles of manifestation of love and its passage through the reader. To understand this, let's remember Kuprin's work "The Garnet Bracelet" where the heroine realizes that she missed the feeling of love. And Kuprin’s tough love, from which the hero suffers, sacrifices himself, but remains completely true to his feeling, never gives up his position and tries to analyze the aspect of his passion, the object is always elevated to the heart, the strategic position of courier and arthropy in the allegorical description.
In Bunin, the superficial theme of love is revealed in the same way as in Kuprin, but the inner meaning is not revealed in the same way as in the heroes of “Kuprin Stories”. Windy sensuality and unlimitedness can be seen in almost every work. But “Dark Alleys” is a kind of exception to the theme of manifestations of love.
It seems that the poet is trying to show both light and dark side manifestations of “love fun”. In some places the theme of love touches the reader’s soul, and in others it touches the body. For Bunin and Kuprin, it was important that their heroes and readers felt the torment of sacrificial love not only in their souls, but also in their bodies. To make this whole feeling seem similar in our time. Therefore, the manifestation of love in the works of both authors is still a relevant topic to this day.
“Love is the same as before: sacrificial, prosaic, tragic, real, imbued with anxiety and emotions, heartbreaking magic of body and soul. And lying has a happy ending,” said the 19th century Russian publicist Arsentiy Gudelman Banshtorden. It was the theme of love between Kuprin and Bunin in prose and lyrics that helped a person gain an understanding of that time, to feel the hero through and through, the feelings tearing apart both body and soul.
“The equality of feelings of allegorical love and their tender care, feelings of unreliability, anxiety and childish impressionability, loss, separation and restoration again,” is the love expression of Kuprin and Bunin. “Percurte adre as ad aspra” - the passage of love like light - is the truth of the works of these greatest Russian lyric writers.
“Is there such a thing as unhappy love?” (Ivan Bunin).
(Based on the works of Ivan Bunin and Alexander Kuprin).
All love is great happiness, even if it is not shared.
I. Bunin
Russian literature of the late 19th and early 20th centuries is represented by the brilliant names of Lev Nikolaevich Tolstoy, Anton Pavlovich Chekhov, Ivan Alekseevich Bunin, Alexander Ivanovich Kuprin and other great writers. Critical realists reflected in their works the crisis state of the world, the process of distortion of human nature, the loss of human traits by people. But, depicting the world in such colors, writers of the turn of the century see positive ideals in high love. Their concepts of this feeling are similar. You can compare the opinions of Bunin and Kuprin. Extraordinary strength and sincerity of feeling are characteristic of the heroes of their stories. Kuprin firmly believed in love. His work revives the high order of feelings that was inherent in the works of more early writers who created inspired hymns of love. Bunin, too, always succeeded in telling stories about high feelings, because they came from the depths of his heart. Love captures all a person’s thoughts, all his strength. But something always goes wrong, and the lovers are forced to separate. Reading the works of these writers, one can assume that love is something that causes people nothing but suffering and misfortune. Indeed, the ending of Alexander Kuprin’s “Garnet Bracelet” is tragic: main character commits suicide. And in “Sunstroke” or “Dark Alleys” by Ivan Bunin there is no happy ending. All “lovers” of writers live in anticipation of love, search for it and, more often than not, scorched by it, die. But let’s still try to figure out whether the love of the main characters in the works of Bunin and Kuprin was unhappy.
To understand Kuprin’s attitude to love, in my opinion, it is enough to understand whether love was happiness for the hero in the writer’s most powerful story, “The Garnet Bracelet.” This work, written in 1911, is based on a real event - the love of telegraph operator P.P. Yellow. to the wife of an important official, member of the State Council - Lyubimov. Lyubimova’s son, the author of famous memoirs, Lev Lyubimov, recalls this story. In life, everything ended differently than in A. Kuprin’s story - the official accepted the bracelet and stopped writing letters, nothing more is known about him. The Lyubimov family remembered this incident as strange and curious. Under the writer’s pen, it appears as a sad and tragic life story little man who was raised and destroyed by love. Yes, she ruined him, because this love was unrequited, but can we really say that she was unhappy for Zheltkov? I think it's impossible. Zheltkov died not with fear from the premonition of death, but with a pleasant feeling that this love was still in his life. This is evidenced by the expression on the face of the deceased: “Deep importance was in his closed eyes, and his lips smiled blissfully and serenely...”. For the hero, love, although it was not mutual, was the only happiness. He writes about this in his last message to Vera Ivanovna: “I thank you from the depths of my soul for being my only joy in life, my only consolation, my only thought.” “But that means there was no reason for suicide if he was happy...” said some critics of that time. Perhaps he did this act so as not to cause inconvenience to his beloved. Zheltkov would have to stop writing to her and mentioning his existence. Vera Ivanovna herself asked him about this, but he was unable to bring himself to do it. AND lyrical hero I saw no other way out but to commit suicide. This means we can say that Zheltkov died not from unhappy love, but, on the contrary, because he loved passionately and passionately. According to Kuprin, the real happy love can't last forever. He was a realist, which is why there is no happy ending in this writer’s stories about love. Lovers must separate.
Now let's turn to the stories of Ivan Alekseevich Bunin. His opinion about love is best expressed by a line from “Dark Alleys”: “All love is great happiness, even if it is not shared.” As we have already said, Alexander Kuprin shares this opinion. That is why I took this line as an epigraph. In the thirty-eight short stories of “Dark Alleys,” readers experience amazing female types. Here is Nadezhda from the story “Dark Alleys”. Throughout her life she carried her love for the master who had once seduced her. The lovers had not seen each other for thirty years and met by chance at an inn, where Nadezhda is the hostess, and Nikolai Alekseevich is a random traveler. He is not able to rise up to her high feelings, to understand why Nadezhda did not get married “with such beauty that ... she had.” How can you love just one person all your life? Meanwhile, for Nadezhda Nikolenka remained the ideal, the one and only, for the rest of her life: “No matter how much time passed, she lived alone. I knew that you had been gone for a long time, that it was as if nothing had happened to you, but... It’s too late to reproach me now, but it’s true, you abandoned me very heartlessly.” Having changed horses, Nikolai Alekseevich leaves, and Nadezhda remains forever at the inn. For one it is a casual hobby of youth, for another it is love for life. Yes, perhaps Nadezhda is not happy now, many years later, but how strong that feeling was, how much joy and happiness it brought, that it is impossible to forget about it. That is love for main character- happiness.
In the story " Sunstroke“love is something instantaneous, a flash that flashes through, leaving a deep mark in the soul. Again, the lovers break up, which causes suffering to the main character. Life itself without a beloved is suffering. He finds no place for himself either in the apartment or on the street, remembering those happy moments spent with her. Reading short story after short story, you begin to realize that in order to be convinced of the sincerity of feelings, according to Bunin, a tragedy is absolutely necessary. But despite all their tragedy, a bright feeling covers the reader when the last page of the collection is turned: extraordinary bright strength and sincerity of feelings are characteristic of the heroes of these stories.
Bunin's love does not last long - in the family, in marriage, in everyday life. A short, dazzling flash, which illuminates the souls of lovers to the bottom, leads them to a tragic end - death, suicide, non-existence. In Kuprin’s work, each of the heroes has similar features: spiritual purity, dreaminess, ardent imagination, combined with impracticality and lack of will. And they reveal themselves most clearly in love. They all treat women with filial purity and reverence. Willingness to die for the sake of a beloved woman, romantic worship, knightly service to her and at the same time underestimating oneself, disbelief. All Kuprin's heroes with fragile souls find themselves in a cruel world. The theme of pure and beautiful feeling runs through the entire work of these two Russian writers. “All love is great happiness, even if it is not shared” - these words from the story “Dark Alleys” by Bunin could be repeated by all the heroes.
Topic: Love in the works of Kuprin and Bunin 5.00 /5 (100.00%) 1 vote
Many writers have written about love, almost everyone. And each work showed his personal worldview, emphasizing its originality and originality. This happened with both the famous Russian writers. Each of them showed their own view of love.
And love is the most beautiful and noble. We see this in the story “The Garnet Bracelet”. In “The Garnet Bracelet” the gift of great love seems to be “tremendous happiness”, the only meaning of existence for Zheltkov. The poor official Zheltkov differs from the other heroes in the strength and subtlety of his experiences. Zheltkov's romantic love for Princess Vera Nikolaevna ends tragically. A poor official dies blessing his beloved woman before his death he says “Hallowed your name" The heroes of the stories are always dreamy individuals with a passionate imagination, but at the same time they are impractical and not verbose. These traits are most clearly revealed when the heroes undergo tests of love. Zhelktov is silent about his love for Princess Vera, voluntarily dooming himself to suffering and torment.
In love, love is not only the feelings of a man and a woman, but also love for nature, for the Motherland. All stories about love have a unique plot and original characters. But they are all united by one common “core”: the suddenness of love insight, the passion and short duration of the relationship, the tragic end. For example, in the story “Dark Alleys” we are presented with pictures of everyday life and everyday dullness. But suddenly, in the owner of the inn, Nikolai Alekseevich recognizes his young love, the beautiful Nadezhda. He betrayed this girl thirty years ago. A whole life has passed since they broke up. It turned out that both heroes remained lonely. Although Nikolai Alekseevich is quite triple in life, he is unhappy. His wife cheated on him and left him. The son grew up to be a very bad person, “without a heart, without honor, without a conscience.”
And Nadezhda, who said goodbye to her masters and turned from a former serf into the owner of a private hotel, never got married. Nikolai Alekseevich once voluntarily renounced love, and his punishment for this was complete loneliness for the rest of my life, without a loved one and without happiness. Nadezhda, in the same way, gave her whole life “her beauty, her passion” to her loved one. Love for this man still lives in her heart, but she still does not forgive Nikolai Alekseevich...
In the stories he claims that this feeling is great and beautiful. Despite the fact that love brings not only joy and happiness, but also grief, suffering is a great feeling. And I completely agree with this.
Works a and a teach us to see the real feeling, not to miss it and not to remain silent about it, because one day it may be too late. Love is given to us to illuminate our lives, to open our eyes. "Every love is great happiness, even if it is not divided.”
Content
I.Introduction……………………………………………………………3
II Main part
1.Biographical information. I.A.Bunin. 4
A.I.Kuprin 6
2. Philosophy of love in the understanding of A.I. Kuprin………………….9
3.The theme of love in the works of I. A. Bunin. 14
4.Image of love in the works of modern authors. 19
III Conclusion. 26
IV.Literature………………………………………………………..27
I.Introduction
The theme of love is called 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 theme: W. Shakespeare, who sang the most beautiful, the most tragic story about Romeo and Juliet, A.S. Pushkin and his famous poems: “I loved you: love can still be...”, heroes of M.A. Bulgakov’s “The Master and Margarita”, whose love overcomes all obstacles on the path to their happiness . This list can be continued and supplemented by modern authors and their heroes who dream of love: Roman and Yulka by G. Shcherbakova, simple and sweet Sonechka by L. Ulitskaya, heroes of stories by L. Petrushevskaya, V. Tokareva.
The purpose of my essay: to explore the theme of love in the works of 20th century writers I.A. Bunin, A.I. Kuprin and contemporary writers, 21st century authors L. Ulitskaya, A. Matveeva.
To achieve this goal, it is necessary to solve the following tasks:
1) get acquainted with the main stages of the biography and creativity of these writers;
2) reveal the philosophy of love in the understanding of A.I. Kuprin (based on the story “The Garnet Bracelet” and the story “Olesya”);
3) identify the features of the depiction of love in the stories of I.A. Bunin;
4) present the work of L. Ulitskaya and A. Matveeva from the point of view of continuing traditions love theme in Russian literature.
II Main part
1.Biographical information. I.A. Bunin (1870 – 1953).
Ivan Alekseevich Bunin is a wonderful Russian writer, poet and prose writer, a great man and difficult fate. He was born in Voronezh into an impoverished noble family. I spent my childhood in the village. Early on he learned the bitterness of poverty and worrying about 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 from that time on he forever linked his destiny with literature.
Bunin's fate was marked by two circumstances that did not pass unnoticed for him: being a nobleman by birth, he did not even receive a high school education. And after leaving his native shelter, he never had his own home (hotels, private apartments, living as a guest and out of favor, always temporary and other people’s shelters).
In 1895 he came to St. Petersburg, and by the end of the last century he was already the author of several books: “To the End of the World” (1897), “Under open air"(1898), literary translation of "The Song of Hiawatha" by G. Longfellow, poems and stories.
Bunin deeply felt beauty native nature, had an excellent knowledge of the life and customs of the village, its customs, traditions and language. Bunin is a lyricist. His book “Under the Open Air” is a lyrical diary of the seasons, from the first signs of spring to winter landscapes, through which the image of the homeland close to the heart appears.
Bunin's stories of the 1890s, created in the traditions of realistic literature of the 19th century, open up the world village life. The author truthfully talks about the life of an intellectual - a proletarian with his spiritual turmoil, about the horror of the senseless vegetation of people “without family or tribe” (“Halt”, “Tanka”, “News from the Motherland”, “Teacher”, “Without Family or Tribe”, "Late at night") Bunin believes that with the loss of beauty in life, the loss of its meaning is inevitable.
Over the course of his long life, the writer traveled to many countries in Europe and Asia. Impressions from these trips served as material for his travel sketches (“Shadow of the Bird,” “In Judea,” “Temple of the Sun” and others) and short stories (“Brothers” and “The Master from San Francisco”).
Bunin did not accept the October Revolution decisively and categorically, rejecting as “bloody madness” and “general madness” any violent attempt to rebuild human society. He reflected his feelings in his diary of the revolutionary years, “Cursed Days,” a work of furious rejection of the revolution, published in exile.
In 1920, Bunin went abroad and fully experienced the fate of an emigrant writer.
Few poems were written in the 20-40s, but among them were lyrical masterpieces - “And flowers, and bumblebees, and grass, and ears of corn...”, “Mikhail”, “The bird has a nest, the beast has a hole...”, “ Rooster on a church cross." The book of Bunin, the poet, “Selected Poems,” published in 1929 in Paris, confirmed the author’s right to one of the first places in Russian poetry.
Ten new books of prose were written in exile - “Rose of Jericho” (1924), “Sunstroke” (1927), “Tree of God” (1930), etc., including the story “Mitya’s Love” (1925). This story is about the power of love, with its tragic incompatibility between the carnal and the spiritual, when the hero’s suicide becomes the only “deliverance” from the everyday life.
From 1927 to 1933, Bunin worked on his largest work, “The Life of Arsenyev.” In this “fictional autobiography,” the author reconstructs Russia’s past, his childhood and youth.
In 1933, Bunin was awarded the Nobel Prize “for the truthful artistic talent with which he recreated the typical Russian character in artistic prose.”
By the end of the 30s, Bunin increasingly felt homesick during the Great Patriotic War rejoiced at the successes and victories of the Soviet and allied troops. I greeted the victory with great joy.
During these years, Bunin created stories included in the collection “Dark Alleys”, stories only about love. The author considered this collection to be the most perfect in craftsmanship, especially the story “Clean Monday”.
In exile, Bunin constantly revised his already published works. Shortly before his death, he asked that his works be published only according to the latest author's edition.
Alexander Ivanovich Kuprin (1870-1938) is a talented writer of the early 20th century.
Kuprin was born in the village of Narovchatovo, Penza region, into the family of a clerical employee.
His fate is surprising and tragic: early orphanhood (his father died when the boy was one year old), continuous seventeen-year seclusion in government institutions (orphanage, military gymnasium, cadet corps, cadet school).
But gradually Kuprin’s dream matured of becoming “a poet or novelist.” Poems written by him at the age of 13-17 have been preserved. Years of military service in the provinces gave Kuprin the opportunity to learn the everyday life of the tsarist army, which he later described in many works. In the story “In the Darkness”, the stories “Psyche” “ Moonlit night", written in these years, artificial subjects still predominate. One of the first works based on personally experienced and seen was a story from army life“From the Distant Past” (“Inquiry”) (1894).
“Inquiry” begins a chain of works by Kuprin related to the life of the Russian army and gradually leading to the stories “Duel” “Overnight” (1897), “Night Shift” (1899), “Army Ensign” (1897), “Campaign” (1901) ) etc. In August 1894, Kuprin retired and went on a journey through the south of Russia. He unloads barges with watermelons on the Kyiv piers, and organizes an athletic society in Kyiv. In 1896, he worked for several months at one of the factories in Donbass, in Volyn he served as a forest inspector, an estate manager, a psalm-reader, was engaged in dentistry, played in a provincial troupe, worked as a land surveyor, and became close with circus performers. Kuprin's stock of observations is supplemented by persistent self-education and reading. It was during these years that Kuprin became a professional writer, gradually publishing his works in various newspapers.
In 1896, the story “Moloch” was published, based on Donetsk impressions. Main topic In this story, the theme of Russian capitalism, Moloch, sounded unusually new and significant. The author tried to express the idea of the inhumanity of the industrial revolution using allegory. Almost until the end of the story, the workers are shown as patient victims of Moloch; they are often compared to children. And the result of the story is logical - an explosion, a black wall of workers against the background of flames. These images were intended to convey the idea of popular rebellion. The story “Moloch” became a landmark work not only for Kuprin, but for all Russian literature.
In 1898, the story “Olesya” was published, one of the first works in which Kuprin appears to readers as a magnificent artist of love. The theme of beautiful, wild and majestic nature, which was previously close to him, is firmly included in the writer’s work. The tender, generous love of the forest “witch” Olesya is contrasted with the timidity and indecisiveness of her beloved, the “city” man.
In St. Petersburg magazines, Kuprin published the stories “Swamp” (1902), “Horse Thieves” (1903), “White Poodle” (1904) and others. In the heroes of these stories, the author admires perseverance, loyalty in friendship, incorruptible dignity ordinary people In 1905, the story “The Duel”, dedicated to M. Gorky, was published. Kuprin wrote to Gorky, “Everything bold and violent in my story belongs to you.”
Attention to all manifestations of living things, vigilance of observations are distinguished by Kuprin’s stories about animals “Emerald” (1906), “Starlings” (1906), “Zaviraika 7” (1906), “Yu-Yu”. Kuprin writes about the love that illuminates human life in the stories “Shulamith” (1908), “Pomegranate Bracelet” (1911), depicting the bright passion of the biblical beauty Shulamith and the tender, hopeless and selfless feeling of the little official Zheltkov.
The variety of subjects suggested to Kuprin his life experience. He climbs hot air 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 Balaklava fishermen. All this adorns the pages of his works. bright colors, the spirit of healthy romance. The heroes of Kuprin's novels and stories are people of various classes and social groups Tsarist Russia, starting from millionaire capitalists and ending with tramps and beggars. Kuprin wrote “about everyone and for everyone”...
Writer for many years spent in exile. He paid heavily for this life mistake- Paid with severe homesickness and creative decline.
“The more talented a person is, the more difficult it is for him without Russia,” he writes in one of his letters. However, in 1937 Kuprin returned to Moscow. He publishes the essay “Native Moscow”, and new creative plans are ripening for him. But Kuprin’s health was undermined, and in August 1938 he died.
2. Philosophy of love in the understanding of A. I. Kuprin
“Olesya” is the artist’s first truly original story, written boldly and in his own way. “Olesya” and the later story “River of Life” (1906) were considered by Kuprin to be among his best works. “Here is life, freshness,” the writer said, “the struggle with the old, outdated, impulses for the new, the better.”
“Olesya” is one of Kuprin’s most inspired stories about love, man and life. Here the world of intimate feelings and the beauty of nature are combined with everyday paintings rural backwater, romance true love- With cruel morals Perebrod peasants.
The writer introduces us to the atmosphere of harsh village life with poverty, ignorance, bribes, savagery, and drunkenness. The artist contrasts this world of evil and ignorance with another world of true harmony and beauty, painted just as realistically and fully. Moreover, it is the bright atmosphere of great true love that inspires the story, infecting with impulses “toward a new, better.” “Love is the brightest and most understandable reproduction of my Self. It is not in strength, not in dexterity, not in intelligence, not in talent... individuality is not expressed in creativity. But in love,” - so, clearly exaggerating, Kuprin wrote to his friend F. Batyushkov.
The writer was right about one thing: in love the whole person, his character, worldview, and structure of feelings are revealed. In the books of great Russian writers, love is inseparable from the rhythm of the era, from the breath of time. Starting with Pushkin, artists tested the character of their contemporary not only through social and political actions, but also through the sphere of his personal feelings. A true hero became not only a person - a fighter, activist, thinker, but also a person of great feelings, capable of deeply experiencing, loving with inspiration. Kuprin in “Oles” continues the humanistic line of Russian literature. He checks modern man- an intellectual of the end of the century - from the inside, to the highest degree.
The story is built on a comparison of two heroes, two natures, two world relationships. On the one hand, Ivan Timofeevich is an educated intellectual, a representative of urban culture, and quite humane; on the other hand, Olesya is a “child of nature,” a person who has not been influenced by urban civilization. The balance of natures speaks for itself. Compared to Ivan Timofeevich, a man of a kind but weak, “lazy” heart, Olesya rises with nobility, integrity, and proud confidence in her strength.
If in his relationships with Yarmola and the village people Ivan Timofeevich looks brave, humane and noble, then in his interactions with Olesya the negative sides of his personality also appear. His feelings turn out to be timid, the movements of his soul are constrained and inconsistent. “Tearful expectation”, “petty apprehension”, and the hero’s indecision highlight the wealth of soul, courage and freedom of Olesya.
Freely, without any special tricks, Kuprin draws the appearance of the Polesie beauty, forcing us to follow the richness of shades of her spiritual world, always original, sincere and deep. There are few books in Russian and world literature where such an earthly and poetic image of a girl living in harmony with nature and her feelings would appear. Olesya is Kuprin’s artistic discovery.
True artistic instinct helped the writer reveal beauty human personality, generously endowed by nature. Naivety and authority, femininity and proud independence, “flexible, agile mind”, “primitive and vivid imagination”, touching courage, delicacy and innate tact, involvement in the innermost secrets of nature and spiritual generosity - these qualities are highlighted by the writer, drawing the charming appearance of Olesya, an integral, original, free nature, which flashed as a rare gem in the surrounding darkness and ignorance.
Revealing the originality and talent of Olesya, Kuprin touched upon those mysterious phenomena of the human psyche that are being unraveled by science to this day. He speaks of the unrecognized powers of intuition, premonitions, and the wisdom of thousands of years of experience. Realistically comprehending Olesya’s “witchcraft” charms, the writer expressed the fair conviction “that Olesya had access to that unconscious, instinctive, foggy, strange knowledge obtained by chance experience, which, having preceded exact science by centuries, lives mixed with funny and wild beliefs, in the dark, closed masses of the people, passed on like the greatest secret from generation to generation.”
In the story, for the first time, Kuprin’s cherished thought is so fully expressed: a person can be beautiful if he develops, and not destroys, the physical, spiritual and intellectual abilities given to him by nature.
Subsequently, Kuprin will say that only with the triumph of freedom will a person in love be happy. In “Oles” the writer revealed this possible happiness of free, unfettered and unclouded love. In fact, the flowering of love and human personality constitutes the poetic core of the story.
With an amazing sense of tact, Kuprin makes us relive the anxious period of the birth of love, “full of vague, painfully sad sensations,” and its happiest seconds of “pure, complete, all-consuming delight,” and long joyful meetings of lovers in the dense pine forest. The world of spring, jubilant nature - mysterious and beautiful - merges in the story with an equally beautiful outpouring of human feelings.
The bright, fairy-tale atmosphere of the story does not fade even after the tragic ending. Over everything insignificant, petty and evil, true, great earthly love triumphs, which is remembered without bitterness - “easily and joyfully.” The final touch of the story is typical: a string of red beads on the corner of the window frame among the dirty disorder of a hastily abandoned “hut on chicken legs.” This detail gives compositional and semantic completeness to the work. A string of red beads is the last tribute to Olesya’s generous heart, the memory of “her tender, generous love.”
The cycle of works about love between 1908 and 1911 ends with “The Garnet Bracelet.” Curious creative history stories. Back in 1910, Kuprin wrote to Batyushkov: “Do you remember, this is the sad story of the little telegraph official P.P. Zheltkov, who was so hopelessly, touchingly and selflessly in love with Lyubimov’s wife (D.N. - now the governor in Vilno).” Further decoding real facts and we find 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 characters 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 who was hopelessly in love with her. As L. Lyubimov notes, it was “a curious case, most likely of an anecdotal nature.
Kuprin used an anecdotal story to create a story about a real, great, selfless and selfless love, which “repeats only once every thousand years.” Kuprin illuminated the “curious incident” with the light of his ideas about love as a great feeling, equal in inspiration, sublimity and purity only to great art.
Largely following facts of life, Kuprin nevertheless gave them a different content, interpreted the events in his own way, introducing tragic ending. Everything ended well in life, suicide did not happen. Dramatic ending fictional by the writer, gave extraordinary strength and weight to Zheltkov’s feelings. His love conquered death and prejudice, it raised Princess Vera Sheina above the vain well-being, love sounded great music Beethoven. It is no coincidence that the epigraph to the story is Beethoven's Second Sonata, the sounds of which are heard in the finale and serve as a hymn to pure and selfless love.
And yet “Garnet Bracelet” does not leave such a bright and inspired impression as “Olesya”. K. Paustovsky subtly noticed the special tone of the story, saying about it: “the bitter charm of the “Garnet Bracelet.” Indeed, “The Garnet Bracelet” is permeated with a lofty dream of love, but at the same time it contains a bitter, mournful thought about the inability of contemporaries to have great real feelings.
The bitterness of the story - and in tragic love Zheltkova. Love won, but it passed by as some kind of ethereal shadow, coming to life only in the memories and stories of the heroes. Perhaps too real - the everyday basis of the story interfered with the author's intention. Perhaps Zheltkov’s prototype, his nature, did not carry within itself that joyfully majestic force that was necessary to create the apotheosis of love, the apotheosis of personality. After all, Zheltkov’s love concealed not only inspiration, but also inferiority associated with the limitations of the very personality of the telegraph official.
If for Olesya love is part of being, part of the multicolored world surrounding her, then for Zheltkov, on the contrary, the whole world narrows down to love, which he admits in his suicide letter to Princess Vera. “It 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, my whole life lies only in you.” For Zheltkov, there is only love for a single woman. It is quite natural that losing her becomes the end of his life. He has nothing left to live for. Love did not expand or deepen his connections with the world. As a result, the tragic ending, along with the hymn of love, also expressed another, no less important thought (although, perhaps, Kuprin himself was not aware of it): one cannot live by love alone.
3.The theme of love in the works of I. A. Bunin
In the theme of love, Bunin reveals himself as a man of amazing talent, a subtle psychologist who knows how to convey the state of the soul wounded by love. The writer does not avoid complex, frank topics, depicting the most intimate human experiences in his stories.
In 1924 he wrote the story “Mitya’s Love”, the following year - “The Case of Cornet Elagin” and “Sunstroke”. And in the late 30s and during the Second World War, Bunin created 38 short stories about love, which made up his book “Dark Alleys,” published in 1946. Bunin considered this book his “ the best work in the sense of conciseness, painting and literary skill.”
Love in Bunin’s depiction amazes not only with the power of artistic representation, but also with its subordination to some internal laws unknown to man. They rarely break through to the surface: most people will not experience their fatal effects until the end of their days. Such a depiction of love unexpectedly gives Bunin’s sober, “merciless” talent a romantic glow. The proximity of love and death, their conjugation were obvious facts for Bunin, never subject to doubt. However, the catastrophic nature of being, the fragility of human relationships and existence itself - all these were Bunin’s favorite themes after The gigantic social cataclysms that shook Russia were filled with a new formidable meaning, as is, for example, seen in the story “Mitya’s Love.” “Love is beautiful” and “Love is doomed” - these concepts, having finally come together, coincided, carrying in the depths, in the grain of each story, the personal grief of Bunin the emigrant.
Bunin's love lyrics are not great in quantity. It reflects the poet's confused thoughts and feelings about the mystery of love... One of the main motives love lyrics– loneliness, inaccessibility or impossibility of happiness. For example, “How bright, how elegant spring is!..”, “A calm gaze, like the gaze of a doe...”, “At a late hour we were in the field with her...”, “Loneliness”, “Sadness of eyelashes, shining and black...” etc.
Bunin's love lyrics are passionate, sensual, saturated with a thirst for love and are always filled with tragedy, unfulfilled hopes, memories of past youth and lost love.
I.A. Bunin has a unique view of love relationships that distinguishes him from many other writers of that time.
In Russian classical literature 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 became a household name. Russian literature is predominantly the literature of “first love”.
The image of love in Bunin’s work is a special synthesis of spirit and flesh. According to Bunin, the spirit cannot be comprehended without knowing the flesh. I. Bunin defended in his works a pure attitude towards the carnal and physical. He did not have the concept of female sin, as in “Anna Karenina”, “War and Peace”, “The Kreutzer Sonata” by L.N. Tolstoy, there was no wary, hostile attitude towards the feminine, characteristic of N.V. Gogol, but there was no vulgarization of love. His love is an earthly joy, a mysterious attraction of one sex to another.
The theme of love and death (often touching in Bunin’s works) is devoted to the works - “The Grammar of Love”, ” Easy breathing”, “Mitya’s Love”, “Caucasus”, “In Paris”, “Galya Ganskaya”, “Henry”, “Natalie”, “Cold Autumn”, etc. It has long been and very correctly noted that love in Bunin’s work is tragic. The writer is trying to unravel the mystery of love and the mystery of death, why they often come into contact in life, what is the meaning of this. Why does the nobleman Khvoshchinsky go crazy after the death of his beloved, the peasant woman Lushka, and then almost deifies her image (“Grammar of Love”). Why does the young schoolgirl Olya Meshcherskaya, who, as it seemed to her, have an amazing gift of “lung”, die, just starting to blossom? breathing"? The author does not answer these questions, but through his works he makes it clear what is in it certain meaning earthly human life.
The heroes of “Dark Alleys” do not resist nature; often their actions are completely illogical and contradict generally accepted morality (an example of this is the sudden passion of the heroes in the story “Sunstroke”). Bunin’s love “on the brink” is almost transgressing the norm, going beyond the boundaries of everyday life. For Bunin, this immorality can even be said to be a certain sign of the authenticity of love, since ordinary morality turns out, like everything established by people, to be a conventional scheme into which the elements of natural, living life do not fit.
When describing risque details related to the body, the author must be impartial so as not to cross the fragile line that separates art from pornography. Bunin, on the contrary, worries too much - to the point of a spasm in her throat, to the point of passionate trembling: “... her eyes simply darkened at the sight of her pinkish body with a tan on her shiny shoulders... her eyes turned black and widened even more, her lips parted passionately "("Galya Ganskaya"). For Bunin, everything connected with gender is pure and significant, everything is shrouded in mystery and even holiness.
As a rule, the happiness of love in “Dark Alleys” is followed by separation or death. The heroes revel in intimacy, but it leads to separation, death, and murder. Happiness cannot last forever. Natalie "died on Lake Geneva in premature birth." Galya Ganskaya was poisoned. In the story “Dark Alleys,” the master Nikolai Alekseevich abandons the peasant girl Nadezhda - for him this story is vulgar and ordinary, but she loved him “all century.” In the story "Rusya", the lovers are separated by the hysterical mother of Rusya.
Bunin allows his heroes only to taste the forbidden fruit, to enjoy it - and then deprives them of happiness, hopes, joys, even life. The hero of the story “Natalie” loved two people at once, but did not find family happiness with either one. In the story “Henry” there is abundance female images for every taste. But the hero remains lonely and free from the “women of men.”
Bunin's love does not go into the family channel and is not resolved by a happy marriage. Bunin deprives his heroes of eternal happiness, deprives them because they get used to it, and habit leads to loss of love. Love out of habit cannot be better than lightning-fast but sincere love. The hero of the story “Dark Alleys” cannot tie himself into family ties with the peasant woman Nadezhda, but having married another woman from his circle, he does not find family happiness. The wife cheated, the son was a spendthrift and a scoundrel, the family itself turned out to be “the most ordinary vulgar story.” However, despite its short duration, love still remains eternal: it is eternal in the hero’s memory precisely because it is fleeting in life.
A distinctive feature of love in Bunin’s depiction is the combination of seemingly incompatible things. The strange connection between love and death is constantly emphasized by Bunin, and therefore it is no coincidence that the title of the collection “Dark Alleys” here does not mean “shady” at all - these are dark, tragic, tangled labyrinths of love.
True love is great happiness, even if it ends in separation, death, and tragedy. This conclusion, albeit late, is reached by many of Bunin’s heroes who have lost, overlooked, or destroyed their love. In this late repentance, late spiritual resurrection, enlightenment of the heroes lies that all-purifying melody that speaks of the imperfection of people who have not yet learned to live. Recognize and value real feelings, and about the imperfections of life itself, social conditions, environment, circumstances that often interfere with truly human relationships, and most importantly - about those high emotions that leave an unfading trace of spiritual beauty, generosity, devotion and purity. Love is a mysterious element that transforms a person’s life, giving his destiny uniqueness against the background of ordinary everyday stories, filling his earthly existence with special meaning.
This mystery of existence becomes the theme of Bunin’s story “The Grammar of Love” (1915). The hero of the work, a certain Ivlev, having stopped on the way to the house of the recently deceased landowner Khvoshchinsky, reflects on “incomprehensible love, which has transformed an entire human life into some kind of ecstatic life, which, “maybe it should have been a very ordinary life,” if not for the strange charm of the maid Lushka. It seems to me that the mystery lies not in the appearance of Lushka, who “wasn’t good at all,” but in the character of the landowner himself, who idolized his beloved. “But what kind of person was this Khvoshchinsky? Crazy or just some dazed, focused soul?” According to neighboring landowners. Khvoshchinsky “was known in the district as a rare clever man. And suddenly this love fell on him, this Lushka, then unexpected death her - and everything went to dust: he shut himself up in the house, in the room where Lushka lived and died, and sat on her bed for more than twenty years...” How can this twenty-year seclusion be called? Insanity? For Bunin, the answer to this question is not at all clear.
The fate of Khvoshchinsky strangely fascinates and worries Ivlev. He understands that Lushka entered his life forever, awakened in him “a complex feeling, similar to what he once experienced in an Italian town when looking at the relics of a saint.” What made Ivlev buy from the heir of Khvoshchinsky “for an expensive price” of a small book “The Grammar of Love”, which the old landowner did not part with, cherishing memories of Lushka? Ivlev would like to understand what the life of a madman in love was filled with, what his orphaned soul was fed for many years. And, following the hero of the story, reveal the secret of this inexplicable feelings will be tried by the “grandchildren and great-grandsons” who heard the “voluptuous legend about the hearts of those who loved”, and with them the reader of Bunin’s work.
The author’s attempt to understand the nature of love in the story “Sunstroke” (1925). “A Strange Adventure” shakes the lieutenant’s soul. Having parted with a beautiful stranger, he cannot find peace. At the thought of the impossibility of meeting this woman again, “he felt such pain and uselessness of all his later 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 lost. The depth of the hero’s spiritual insight is clearly expressed in the final phrase of the story: “The lieutenant was sitting under a canopy on the deck, feeling ten years older.” How to explain what happened to him? Maybe the hero came into contact with that great feeling that people call love , and the feeling of the impossibility of loss led him to realize the tragedy of existence?
Torment loving soul, the bitterness of loss, the sweet pain of memories - such unhealed wounds are left in the destinies of Bunin’s heroes by love, and time has no power over it.
It seems to me that the peculiarity of Bunin, the artist, is that he considers love to be a tragedy, a catastrophe, madness, a great feeling, capable of both infinitely elevating and destroying a person.
4.Image of love in the works of modern authors.
The theme of love is one of the most important themes in modern Russian literature. Much has changed in our lives, but man with his boundless desire to find love and penetrate its secrets remains the same.
In the 90s of the twentieth century, the totalitarian regime was replaced by a new democratic government that declared freedom of speech. Against the background of this, the sexual revolution somehow naturally and not too noticeably took place. A feminist movement also appeared in Russia. All this led to the emergence in modern literature so-called "women's prose". Women writers mainly address what most concerns readers, i.e. to the theme of love. “Women’s novels” come first - the sugary-sentimental melodramas of the “women’s series.” According to literary critic V.G. Ivanitsky, “ women's novels" - fairy tales repainted in modern colors and moved into modern settings. They have an epic, pseudo-folklore nature, smoothed out and simplified as much as possible. That's what's in demand! This literature is built on proven clichés, traditional cliches and stereotypes of “femininity” and “masculinity” - stereotypes that are so hateful to any person with taste.”
In addition to this low-quality literary production, which is undoubtedly the influence of the West, there are wonderful and brilliant authors who write serious and deep works about love.
Lyudmila Ulitskaya belongs to a family with its own traditions, with its own history. Both of her great-grandfathers, Jewish artisans, were watchmakers and were subjected to pogroms more than once. Watchmakers - artisans - gave their children an education. One grandfather graduated from Moscow University in 1917, Faculty of Law. Another grandfather - Commercial School, Conservatory, served 17 years in camps in several stages. He wrote two books: on demography and music theory. He died in exile in 1955. Parents were research assistants. L. Ulitskaya followed in their footsteps and graduated from the Faculty of Biology of Moscow State University with a degree in biology and genetics. She worked at the Institute of General Genetics, committed a crime before the KGB - she read and reprinted some books. This was the end of his scientific career.
She wrote her first story, “Poor Relatives,” in 1989. She cared for her sick mother, gave birth to sons, and worked as a director at the Jewish Theater. She wrote the stories “Sonechka” in 1992, “Medea and Her Children”, “Merry Funeral”, in recent years has become one of the brightest phenomena of modern prose, attracting both readers and critics.
“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 ultimately leads Masha to commit suicide. Are children responsible for the sins of their fathers? In one of her interviews, L. Ulitskaya speaks about the understanding of love in modern society:
“Love, betrayal, jealousy, suicide for love reasons - all these things are as ancient as man himself. These 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 a rival. But in every time there are generally accepted reactions - from confinement in a monastery to a duel, from stoning to ordinary divorce.
People who grew up after the great sexual revolution sometimes think that everything can be agreed upon, prejudices can be abandoned, and outdated rules can be disdained. And within the framework of mutually granted sexual freedom, save the marriage and raise children.
I have met several such unions in my life. I suspect that in such contractual relationships, one of the spouses is still the secretly suffering party, but has no choice but to accept the proposed conditions. As a rule, such contractual relationships sooner or later fall apart. And not every psyche can withstand what “an enlightened mind agrees to”
Anna Matveeva was born in 1972 in Sverdlovsk. She graduated from the Faculty of Journalism of USU.. But, despite her youth, Matveeva is already a famous prose writer and essayist. Her story “Dyatlov Pass” reached the finals literary prize named after Ivan Petrovich Belkin. The story “St. Helena Island,” included in this collection, was awarded the international literary prize “Lo Stellato” in 2004, which is awarded in Italy for the best story.
She worked at Oblastnaya Gazeta, as a press secretary (Gold - Platinum - Bank).
She won the Cosmopolitan magazine short story competition twice (1997, 1998). She has published several books. Published in the magazines “Ural”, “ New world" Lives in the city of Yekaterinburg.
Matveeva’s stories, one way or another, are built around the “female” theme. Judging by external parameters, it seems that the author’s attitude to this issue is skeptical. Her heroines are young women with a masculine mentality, strong-willed, independent, but, alas, unhappy in their personal lives.
Matveeva writes about love. “And it presents the plot, not in some metaphorical or metaphysical way, but one to one, without shunning elements of melodrama. She is always curious to compare her rivals - how they look, how they dress. It is also interesting to evaluate the subject of rivalry, and with a woman’s eye rather than a writer’s. In her stories, it often happens that people who are well acquainted meet after passing the first distance in life - from youth to youth. Here the author is interested in who succeeded and who became a failure. Who has “aged” and who not so much, who has acquired a marketable appearance, and who, on the contrary, has declined. It seems that all of Matveeva’s heroes are her former classmates, whom she “meets” in her own prose.”
One more characteristic feature. Anna Matveeva’s heroes differ from the traditional “little people” of compassionate Russian prose in that they are not poor at all, but, on the contrary, earn money and lead a corresponding lifestyle. And since the author is precise in details (expensive clothing lines, tour attractions), the texts acquire a certain glossiness.
However, in the absence of “professional correctness,” Anna Matveeva’s prose has the correctness of naturalness. In fact, melodrama is very difficult to write; you can’t achieve anything with hard work: you need to have a special gift for storytelling, the ability to “revive” the hero and then properly provoke him. The young writer fully possesses such a bouquet of abilities. The little story “Pas de Trois”, which gave the name to the whole book, is clean water melodrama.
A heroine named Katya Shirokova, one of the performers of the pas de trois against the backdrop of Italian antiquities and modern landscapes, soars in the sky of her love for a married man. It was no coincidence that she ended up in the same tour group as her chosen one, Misha Idolov and his wife Nina. Expectation of an easy and final victory over the old one - she is already 35! - the wife should end in Rome, the beloved city - with daddy's money. In general, A. Matveeva’s heroes do not know material problems. If they get tired of their native industrial landscape, they immediately leave for some foreign country. Sit in the Tuileries - “on a thin chair, which rests its feet on the sand, lined with pigeon feet” - or take a walk in Madrid, or even better (poor Katya’s option, defeated by her old wife) - give up on Capri, live there for a month - another .
Katya, she is a nice—by definition of a rival—an intelligent girl, and also a future art critic, who continually pesters dear Misha with her erudition. (“I still really want to show you the Baths of Caracalla.” - “Caracal what?”). But the dust shaken out of the old books into the young head did not bury the natural mind. Katya is able to learn and understand people. She also copes with the difficult situation into which she found herself due to the selfishness of her youth and lack of parental love. With everything material well-being, in a spiritual sense, Katya, like many children of the new Russians, is an orphan. She is exactly that fish soaring in the sky. Misha Idolov “gave her what her mother and father had denied her. Warmth, admiration, respect, friendship. And only then – love.”
However, she decides to leave Misha. “You are so much better than me, and him, by the way, too, that it would be wrong...” - “How long ago have you begun to evaluate actions from this point of view?” - Nina mimicked.
“When I have children,” Katya thought, lying in the bed of the Pantalon Hotel, “it doesn’t matter whether they are a boy or a girl, I will love them. It's that simple."
In someone else's husband she looks for a father, and in his wife she finds, if not a mother, then an older friend. Although, as it turns out, Nina at her age also contributed to the destruction of Katya’s family. Alexey Petrovich, Katya's father, is her first lover. “My daughter, thought Nina, will soon become an adult, she will definitely meet married man, will love him, and who can guarantee that this man will not turn out to be Katya Shirokova’s husband?.. However, this is not the worst option...”
The nice girl Katya becomes an unexpected and therefore more effective instrument of retribution. She refuses the Idol, but her impulse (equally noble and selfish) no longer saves anything. “Looking at her, Nina suddenly felt that she didn’t need Misha Idolov now - even in the name of Dashka. She will not be able to sit next to him, as before, hug him awake, and a thousand more time-forged rituals will never happen again. The fast-paced tarantella ends, the last chords sound, and the trio, united by common days, breaks up for bright solo performances.”
“Pas de Trois” is a small elegant story about the education of feelings. All her heroes are quite young and recognizably modern new Russian people. Its novelty is in the emotional tone in which eternal problems are solved love triangle. No exaltation, no tragedies, everything is everyday - businesslike, rational. One way or another, you have to live, work, give birth and raise children. And don’t expect holidays and gifts from life. Moreover, they can be bought. Like a trip to Rome or Paris. But sadness about love - humbly - muffled - still sounds in the ending of the story. Love that constantly happens, despite the stubborn opposition of the world. After all, for him, both today and yesterday, she is a kind of excess, only a brief and sufficient flash for the birth of a new life. The quantum nature of love resists being turned into a constant and convenient source of warmth.”
If in the story the truth of everyday life, the usual low truths, triumphs, then in the stories - elevating deception. Already the first of them - “Supertanya”, playing on the names of Pushkin’s heroes, where Lensky (Vova), naturally, dies, and Evgeny, as it should, at first rejects the married girl in love - ends with the victory of love. Tatyana waits for the death of her rich and cool, but unloved husband and unites with her dear Eugenik. The story sounds ironic and sad, like a fairy tale. “Eugenik and Tanya seem to have disappeared into the damp air of the great city, their traces disappear in St. Petersburg courtyards, and only Larina, they say, has their address, but rest assured, she will not tell it to anyone...”
Light irony, gentle humor, a condescending attitude towards human weaknesses and shortcomings, the ability to compensate for the discomfort of everyday existence through the efforts of the mind and heart - all this, of course, attracts and will attract the widest reader. Anna Matveeva was initially not a guild writer, although current literature exists mainly due to such fiction writers who are briefly tied to their time. The problem, of course, is that its potential mass reader does not buy books today. Those who read romance portable novels in paperbacks do not live up to Matveeva’s prose. They need a rougher drug. The stories that Matveeva tells have happened before, are happening now and will always happen. People will always fall in love, cheat, and be jealous.
III.Conclusion
Analyzing the works of Bunin and Kuprin, as well as modern authors - L. Ulitskaya and A. Matveeva, I came to the following conclusions.
Love in Russian literature is portrayed as one of the main human values. According to Kuprin, “individuality is not expressed in strength, not in dexterity, not in intelligence, not in creativity. But in love!
Extraordinary strength and sincerity of feeling are characteristic of the heroes of the stories of Bunin and Kuprin. Love seems to say: “Where I stand, it cannot be dirty.” A natural fusion of the frankly sensual and the ideal creates an artistic impression: the spirit penetrates the flesh and ennobles it. This, in my opinion, is the philosophy of love in the true sense.
The creativity of both Bunin and Kuprin is attracted by their love of life, humanism, love and compassion for people. Convexity of the image, simple and clear language, precise and subtle drawing, lack of edification, psychologism of the characters - all this brings them closer to the best classical tradition in Russian literature.
L. Ulitskaya and A. Matveeva – masters modern prose- are also alien to didactic straightforwardness; their stories and stories contain a pedagogical charge that is so rare in modern fiction. They remind not so much of the fact that “know how to cherish love”, but of the complexity of life in a world of freedom and seeming permissiveness. This life requires great wisdom, the ability to look at things soberly. It also requires greater psychological security. Stories we were told about modern authors, of course, are immoral, but the material is presented without disgusting naturalism. Emphasis on psychology rather than physiology. This involuntarily reminds us of the traditions of great Russian literature.
Literature
1. Agenosov V.V. Russian literature of the twentieth century. - M.: Drofa, 1997.
2.Bunin I.A. Poems. Stories. Stories. - M.: Bustard: Veche, 2002.
3Ivanitsky V.G. From women's literature- to the “women's novel.” - Social Sciences and Modernity No. 4, 2000.
4.Krutikova.L.V.A. I. Kuprin. - Leningrad., 1971.
5. Kuprin A.I. Stories. Stories. – M.: Bustard: Veche, 2002.
6.Matveeva A Pa – de – trois. Stories. Stories. – Ekaterinburg, “U-Factoria”, 2001.
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)
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