The work of Alexander Ivanovich Kuprin was formed during the years of the revolutionary upsurge. All his life he was close to the theme of the insight of a simple Russian man who eagerly sought the truth of life. Kuprin devoted all his work to the development of this complex psychological theme. His art, according to contemporaries, was characterized by a special vigilance in seeing the world, concreteness, and a constant desire for knowledge. The cognitive pathos of Kuprin's creativity was combined with a passionate personal interest in the victory of good over all evil. Therefore, most of his works are characterized by dynamics, drama, excitement.
Kuprin's biography is similar to an adventure novel. In terms of the abundance of meetings with people and life observations, it was reminiscent of Gorky's biography. Kuprin traveled a lot, did various jobs: he served in a factory, worked as a loader, played on stage, sang in a church choir.
On early stage creativity Kuprin experienced a strong influence of Dostoevsky. It manifested itself in the stories "In the Dark", "Moonlight Night", "Madness". He writes about fatal moments, the role of chance in a person's life, analyzes the psychology of human passions. Some stories of that period say that the human will is helpless in the face of elemental chance, that the mind cannot know the mysterious laws that govern a person. decisive role in overcoming literary stamps coming from Dostoevsky played a direct acquaintance with the lives of people, with real Russian reality.
He starts writing essays. Their peculiarity is that the writer usually had a leisurely conversation with the reader. They clearly showed clear storylines, a simple and detailed depiction of reality. G. Uspensky had the greatest influence on Kuprin the essayist.
First creative search Kuprin ended with the largest thing that reflected reality. It was the story "Moloch". In it, the writer shows the contradictions between capital and human forced labor. He was able to capture the social characteristics newest forms capitalist production. An angry protest against the monstrous violence against man, on which the industrial flourishing in the world of “Moloch” is based, a satirical demonstration of the new masters of life, the exposure of the shameless predation in the country of foreign capital - all this cast doubt on the theory of bourgeois progress. After essays and stories, the story was milestone in the work of the writer.
In search of moral and spiritual ideals of life, which the writer opposed to the ugliness of modern human relations, Kuprin turns to the life of vagabonds, beggars, drunken artists, starving unrecognized artists, children of the poor urban population. It is a world of nameless people who form the mass of society. Among them, Kuprin tried to find his positive heroes. He writes the stories “Lidochka”, “Lokon”, “Kindergarten”, “In the Circus” - in these works the heroes of Kuprin are free from the influence of bourgeois civilization.
In 1898, Kuprin wrote the story "Olesya". The scheme of the story is traditional: an intellectual, an ordinary and urban person, in a remote corner of Polissya meets a girl who grew up outside of society and civilization. Olesya is distinguished by spontaneity, integrity of nature, spiritual wealth. Poetizing life, unlimited by modern social cultural framework. Kuprin sought to show the clear advantages of the "natural man", in whom he saw the spiritual qualities lost in a civilized society.
In 1901, Kuprin came to St. Petersburg, where he became close to many writers. During this period, his story “The Night Shift” appears, where main character- simple soldier. The hero is not a detached person, not a forest Olesya, but a very real person. Threads stretch from the image of this soldier to other heroes. It was at this time in his work appears new genre: novella.
In 1902, Kuprin conceived the story "Duel". In this work, he shattered one of the main foundations of autocracy - the military caste, in the lines of decay and moral decline of which he showed signs of the decomposition of the entire social system. The story reflects the progressive aspects of Kuprin's work. The basis of the plot is the fate of an honest Russian officer, whom the conditions of army barracks life made him feel illegal social relations of people. Again, Kuprin is not talking about an outstanding personality, but about a simple Russian officer Romashov. The regimental atmosphere torments him, he does not want to be in the army garrison. He became disillusioned with the army. He begins to fight for himself and his love. And the death of Romashov is a protest against the social and moral inhumanity of the environment.
With the onset of the reaction and exacerbation public life Kuprin's creative concepts are also changing in society. During these years, his interest in the world of ancient legends, history, and antiquity intensified. In creativity, an interesting fusion of poetry and prose, the real and the legendary, the real and the romance of feelings, arises. Kuprin gravitates towards the exotic, develops fantastic stories. He returns to the themes of his early novel. The motives of the inevitability of chance in the fate of a person sound again.
In 1909, the story "The Pit" was published from the pen of Kuprin. Here Kuprin pays tribute to naturalism. He shows the inhabitants of the brothel. The whole story consists of scenes, portraits and clearly breaks up into separate details of everyday life.
However, in a number of stories written in the same years, Kuprin tried to point out the real signs of high spiritual and moral values in reality itself. “Garnet Bracelet” is a story about love. This is how Paustovsky spoke about him: this is one of the most “fragrant” stories about love.
In 1919 Kuprin emigrated. In exile, he writes the novel "Janet". This work is about tragic loneliness a man who has lost his country. This is a story about the touching attachment of an old professor, who ended up in exile, to a little Parisian girl - the daughter of a street newspaper woman.
The emigrant period of Kuprin is characterized by withdrawal into himself. large autobiographical work of that period - the novel "Junker".
In exile, the writer Kuprin did not lose faith in the future of his homeland. At the end life path he still returns to Russia. And his work rightfully belongs to Russian art, the Russian people.
The work of Alexander Ivanovich Kuprin was formed during the years of the revolutionary upsurge. All his life he was close to the theme of the insight of a simple Russian man who eagerly sought the truth of life. Kuprin devoted all his work to the development of this complex psychological topic. His art, according to contemporaries, was characterized by a special vigilance in seeing the world, concreteness, and a constant desire for knowledge. The cognitive pathos of Kuprin's creativity was combined with a passionate personal interest in the victory of good over all evil. Therefore, most of his works are characterized by dynamics, drama, excitement.
Kuprin's biography is similar to an adventure novel. In terms of the abundance of meetings with people and life observations, it was reminiscent of Gorky's biography. Kuprin traveled a lot, did various jobs: he served in a factory, worked as a loader, played on stage, sang in a church choir.
At an early stage of his work, Kuprin was strongly influenced by Dostoevsky. It manifested itself in the stories "In the Dark", "Moonlight Night", "Madness". He writes about fatal moments, the role of chance in a person's life, analyzes the psychology of human passions. Some stories of that period say that the human will is helpless in the face of elemental chance, that the mind cannot know the mysterious laws that govern a person. A decisive role in overcoming the literary cliches coming from Dostoevsky was played by direct acquaintance with the life of people, with real Russian reality.
He starts writing essays. Their peculiarity is that the writer usually had a leisurely conversation with the reader. They clearly showed clear storylines, a simple and detailed depiction of reality. G. Uspensky had the greatest influence on Kuprin the essayist.
The first creative searches of Kuprin ended with the largest thing that reflected reality. It was the story "Moloch". In it, the writer shows the contradictions between capital and human forced labor. He was able to capture the social characteristics of the latest forms of capitalist production. An angry protest against the monstrous violence against man, on which the industrial flourishing in the world of “Moloch” is based, a satirical demonstration of the new masters of life, the exposure of the shameless predation in the country of foreign capital - all this cast doubt on the theory of bourgeois progress. After essays and stories, the story was an important stage in the writer's work.
In search of moral and spiritual ideals of life, which the writer opposed to the ugliness of modern human relations, Kuprin turns to the life of vagabonds, beggars, drunken artists, starving unrecognized artists, children of the poor urban population. It is a world of nameless people who form the mass of society. Among them, Kuprin tried to find his positive heroes. He writes the stories “Lidochka”, “Lokon”, “Kindergarten”, “In the Circus” - in these works the heroes of Kuprin are free from the influence of bourgeois civilization.
In 1898, Kuprin wrote the story "Olesya". The scheme of the story is traditional: an intellectual, an ordinary and urban person, in a remote corner of Polissya meets a girl who grew up outside of society and civilization. Olesya is distinguished by spontaneity, integrity of nature, spiritual wealth. Poetizing life, unlimited by modern social cultural framework. Kuprin sought to show the clear advantages of the "natural man", in whom he saw the spiritual qualities lost in a civilized society.
In 1901, Kuprin came to St. Petersburg, where he became close to many writers. During this period, his story “The Night Shift” appears, where the main character is a simple soldier. The hero is not a detached person, not a forest Olesya, but a very real person. Threads stretch from the image of this soldier to other heroes. It was at this time that a new genre appeared in his work: the short story.
In 1902, Kuprin conceived the story "Duel". In this work, he shattered one of the main foundations of autocracy - the military caste, in the lines of decay and moral decline of which he showed signs of the decomposition of the entire social system. The story reflects the progressive aspects of Kuprin's work. The basis of the plot is the fate of an honest Russian officer, whom the conditions of army barracks life made him feel the illegality of people's social relations. Again, Kuprin is not talking about an outstanding personality, but about a simple Russian officer Romashov. The regimental atmosphere torments him, he does not want to be in the army garrison. He became disillusioned with the army. He begins to fight for himself and his love. And the death of Romashov is a protest against the social and moral inhumanity of the environment.
With the onset of reaction and the aggravation of public life in society, Kuprin's creative concepts also change. During these years, his interest in the world of ancient legends, history, and antiquity intensified. In creativity, an interesting fusion of poetry and prose, the real and the legendary, the real and the romance of feelings, arises. Kuprin gravitates toward the exotic, developing fantastic plots. He returns to the themes of his early novel. The motives of the inevitability of chance in the fate of a person sound again.
In 1909, the story "The Pit" was published from the pen of Kuprin. Here Kuprin pays tribute to naturalism. He shows the inhabitants of the brothel. The whole story consists of scenes, portraits and clearly breaks up into separate details of everyday life.
However, in a number of stories written in the same years, Kuprin tried to point out the real signs of high spiritual and moral values in reality itself. “Garnet Bracelet” is a story about love. This is how Paustovsky spoke about him: this is one of the most “fragrant” stories about love.
In 1919 Kuprin emigrated. In exile, he writes the novel "Janet". This is a work about the tragic loneliness of a man who lost his homeland. This is a story about the touching attachment of an old professor, who ended up in exile, to a little Parisian girl - the daughter of a street newspaper woman.
The emigrant period of Kuprin is characterized by withdrawal into himself. A major autobiographical work of that period is the novel "Junker".
In exile, the writer Kuprin did not lose faith in the future of his homeland. At the end of his life, he nevertheless returns to Russia. And his work rightfully belongs to Russian art, the Russian people.
Military career
Born in the family of a petty official who died when his son was in his second year. A mother from a Tatar princely family, after the death of her husband, was in poverty and was forced to send her son to an orphanage for minors (1876), then a military gymnasium, later transformed into cadet corps, which he graduated in 1888. In 1890 he graduated from the Alexander Military School. Then he served in the 46th Dnieper Infantry Regiment, preparing for military career. Not enrolling in the Academy of the General Staff (this was prevented by a scandal associated with the violent, especially drunk, disposition of the cadet who threw a policeman into the water), Lieutenant Kuprin resigned in 1894.
Life style
The figure of Kuprin was extremely colorful. Greedy for impressions, he led a wandering life, trying different professions - from a loader to a dentist. Autobiographical life material formed the basis of many of his works.
Legends circulated about his turbulent life. Possessing remarkable physical force and explosive temperament, Kuprin greedily rushed towards any new life experience: he went down under water in a diving suit, flew an airplane (this flight ended in a disaster that almost cost Kuprin his life), organized an athletic society ... During the First World War in his Gatchina At home, he and his wife set up a private infirmary.
The writer was interested in people of various professions: engineers, organ grinders, fishermen, card sharpers, beggars, monks, merchants, spies ... In order to more reliably know the person who interested him, to feel the air that he breathes, he was ready, not sparing himself, the wildest adventure. According to his contemporaries, he approached life like a true researcher, seeking the fullest and most detailed knowledge possible.
Kuprin was willingly engaged in journalism, publishing articles and reports in various newspapers, traveled a lot, living either in Moscow, or near Ryazan, or in Balaklava, or in Gatchina.
Writer and revolution
Dissatisfaction with the existing social order attracted the writer to the revolution, so Kuprin, like many other writers of his contemporaries, paid tribute to revolutionary sentiments. However, he reacted sharply negatively to the Bolshevik coup and to the power of the Bolsheviks. At first, he nevertheless tried to cooperate with the Bolshevik authorities and even planned to publish the peasant newspaper Zemlya, for which he met with Lenin.
But soon he suddenly switched sides white movement, and after his defeat, he leaves first for Finland, and then for France, where he settles in Paris (until 1937). There he actively participated in the anti-Bolshevik press, continued his literary activity (the novels The Wheel of Time, 1929; Junkers, 1928-32; Janet, 1932-33; articles and stories). But living in exile, the writer was terribly poor, suffering both from lack of demand and isolation from his native soil, and shortly before his death, believing in Soviet propaganda, in May 1937 he returned with his wife to Russia. By this time he was already seriously ill.
Sympathy for the common man
Almost all of Kuprin's work is imbued with the pathos of sympathy, traditional for Russian literature, for the "little" person, doomed to drag out a miserable lot in a stagnant, miserable environment. In Kuprin, this sympathy was expressed not only in the depiction of the "bottom" of society (the novel about the life of prostitutes "The Pit", 1909-15, etc.), but also in the images of his intelligent, suffering heroes. Kuprin was inclined precisely to such reflective, nervous to the point of hysteria, characters not devoid of sentimentality. Engineer Bobrov (the story "Moloch", 1896), endowed with a quivering soul responsive to someone else's pain, worries about the workers who waste their lives in overworking factory labor, while the rich live on ill-gotten money. Even characters from the military environment like Romashov or Nazansky (the story "Duel", 1905) have a very high pain threshold and a small margin of mental strength to withstand the vulgarity and cynicism of their environment. Romashov is tormented by the stupidity of military service, the debauchery of the officers, the downtroddenness of the soldiers. Perhaps none of the writers threw such a passionate accusation against the army environment as Kuprin. Truth in the picture ordinary people Kuprin differed from the populist writers prone to popular worship (although he received the approval of the venerable populist critic N. Mikhailovsky). His democratism was not limited to a tearful demonstration of their "humiliation and insult." A simple man in Kuprin turned out to be not only weak, but also able to stand up for himself, possessing an enviable inner strength. folk life appeared in his works in her free, spontaneous, natural flow, with her own circle of ordinary concerns - not only sorrows, but also joys and consolations ("Listrigons", 1908-11).
At the same time, the writer saw not only its bright sides and healthy beginnings, but also outbursts of aggressiveness and cruelty, easily directed by dark instincts (the famous description of the Jewish pogrom in the story Gambrinus, 1907).
The Joy of Being In many of Kuprin's works, the presence of an ideal, romantic beginning is clearly felt: it is both in his craving for heroic plots and in his desire to see the highest manifestations of the human spirit - in love, creativity, kindness ... It is no coincidence that he often chose heroes that fell out, breaking out of the habitual rut of life, seeking the truth and seeking some other, more complete and living being, freedom, beauty, grace ... but who in the literature of that time, so poetically, like Kuprin, wrote about love, tried to restore her humanity and romance. "Garnet Bracelet" (1911) has become for many readers just such a work, where pure, disinterested, ideal feeling is sung.
A brilliant exponent of the morals of the most different layers society, Kuprin vividly, with special attention, described the environment, life (for which he got criticized more than once). There was also a naturalistic tendency in his work.
At the same time, the writer, like no one else, knew how to feel the course of natural, natural life from the inside - his stories "Barbos and Zhulka" (1897), "Emerald" (1907) were included in the golden fund of works about animals. The ideal of natural life (the story "Olesya", 1898) is very important for Kuprin as a kind of desired norm, he often highlights modern life with it, finding in it sad deviations from this ideal.
For many critics, it was precisely this natural, organic perception of Kuprin's life, the healthy joy of being, that was the main distinguishing quality of his prose with its harmonious fusion of lyrics and romance, plot-compositional proportionality, dramatic action and accuracy in descriptions.
Literary skill Kuprin is an excellent master of not only the literary landscape and everything connected with the external, visual and olfactory perception of life (Bunin and Kuprin competed who would more accurately determine the smell of a particular phenomenon), but also literary character: portrait, psychology, speech - everything is worked out to the smallest nuances. Even the animals that Kuprin liked to write about reveal complexity and depth in him.
The narration in Kuprin's works, as a rule, is very spectacular and is often turned - unobtrusively and without false speculation - precisely to existential problems. He reflects on love, hatred, the will to live, despair, the strength and weakness of man, recreates the complex spiritual world of man at the turn of epochs.
MAOU secondary school №17, Lipetsk
Teacher: Bellash Elena Vladimirovna
Literature lesson
Theme of the lesson “Hallowed be thy name ...” (a lesson on the work of A.I. Kuprin)
Purpose: - to expand and deepen the children's understanding of Kuprin the master artistic word;
To evoke a feeling of admiration for pure, sublime love, to help measure what you read with the world of your own soul, to think about yourself.
Equipment: portrait of Kuprin, book exhibition, presentation, music by Sviridov
Type of lesson: lesson-conversation.
Love is omnipotent:
there is no grief on earth - higher than her punishment,
no happiness is higher than the pleasure of serving her.
W. Shakespeare
During the classes:
Org.moment
teacher's word
Her eyes don't look like stars
You can’t call the mouth corals,
Not snow-white shoulders open skin,
And a strand twists like a black wire.
With a damask rose, scarlet or white,
You can not compare the shade of these cheeks.
And the body smells like the body smells,
Not like a violet delicate petal.
You won't find perfect lines in it
Special color on the forehead.
I don't know how goddesses walk
But the darling walks the earth.
And yet she will hardly yield to those
Who was slandered in lush comparisons.
Shakespeare devoted many works to the theme of love, as did many poets and writers.
With no less reason, Kuprin can be called a singer of sublime love. Today in the lesson, together with the author, we will go to the wilderness of Polissya (“Olesya”), look into the closet of a poor official (“Garnet Bracelet”) to look at examples of ideal love, amazing in beauty and strength
Knowledge update. Work with text.
So, the story "Olesya" (1898).
Let's think about why Kuprin titled the story that way? Who is she, Olesya? What does the word "witch" mean? (wizard, sorceress).
How do people around her and her grandmother feel about her?
Who did the writer choose to compare with Olesya? Why? (Through comparison with the novice writer A. Kuprin will allow you to see the main thing in Oles)
What do you think, did Kuprin accidentally make the hero a writer? (The writer is one who is able to see and hear what is not given to others, who is able to understand the phenomena of life more deeply, more sensitively than ordinary person).
What attracts the reader to Olesya? Why did Ivan Timofeevich fall so recklessly in love with a girl far from civilization? (She is kind, pure, she is a child of nature, she is not afraid to live in harmony with her heart).
What does kindness mean for Olesya?
Does Ivan Timofeevich think about the future of Olesya? How does he feel about her?
Their love is like a fairy tale, it is pure and selfless. Why does it all end like this? (Stand by different sides life).
Kuprin is a master for whom every detail, every word is important. Can you prove it? What does a string of red beads mean? (The symbol of her pure feeling, the symbol of unquenchable love. Each bead is a spark of this love).
Selfless and selfless love is the theme of the story "Garnet Bracelet" (1911). Let's try to convey the plot of the story in a succinct way.
Why do you think the story opens with a landscape?
In chapter 2, Kuprin emphasizes the word "cold". Cold autumn flowers. Their description precedes the description of the gentle, but cold and proud face of Vera. What can be said about her soul? Does she also suffer from "heart failure", like Ivan Timofeevich?
What role does General Anosov play? Why does Vera listen to him? (Love, tenderness, kindness - that's what attracts Vera to the wise grandfather).
Why does Zheltkov commit suicide?
How do you understand the words "Hallowed be thy name" ... (He has nothing to count on)
Why the episode of farewell to Zheltkov is very important in revealing the character main character?
About what Great love says General Anosov?
Why did Kuprin title his story "Garnet Bracelet"? (Grenades on the bracelet with their “bloody fires” trembling inside are a symbol of love and tragedy in the fate of the hero).
What is the idea behind the story "Garnet Bracelet"? What is the meaning of contrasting parts 1 and 2 of the story?
Can we talk about the connection of these works?
4. Conclusion on the lesson, conclusion.
Kuprin's works not only awaken to reflection, they help to understand what we can lose, remaining in the power of heart laziness, what great, real things in life can pass by if we don’t see, hear, notice in time ...
D / z: prepare for writing an essay on the work of A. Kuprin.
Alexander KUPRIN (1870-1938)
1.Youth and early work of Kuprin
Alexander Ivanovich Kuprin had a bright, original talent, which was highly valued by L. Tolstoy, Chekhov, Gorky. The attractive power of his talent lies in the capacity and vitality of the narrative, in the entertaining plots, in the naturalness and ease of the language, in vivid imagery. Kuprin's works attract us not only artistic skill, but also humanistic pathos, great vitality.
Kuprin was born on August 26 (September 7), 1870 in the city of Narovchat Penza province in the family of a county clerk. The father died when the child was in its second year. His mother moved to Moscow, where the need forced her to settle in a widow's house, and send her son to an orphanage. The writer's childhood and youth were spent in closed military-type educational institutions: in a military gymnasium, and then in a cadet school in Moscow. In 1890, after graduating from a military school, Kuprin served in the army with the rank of lieutenant. An attempt to enter the Academy of the General Staff in 1893 was unsuccessful for Kuprin, and in 1894 he retired. The next few years in Kuprin's life were a period of numerous moves and changes in various activities. He worked as a reporter in Kiev newspapers, served in Moscow in an office, as an estate manager in the Volyn province, as a prompter in a provincial troupe, tried many more professions, met people of various specialties, views and life destinies.
Like many writers, AI Kuprin began his creative activity as a poet. Among Kuprin's poetic experiments, there are 2-3 dozen not bad in performance and, most importantly, genuinely sincere in identifying human feelings and moods. This is especially true for his humorous poems - from the prickly "Ode to Katkov", written as a teenager, to numerous epigrams, literary parodies, playful impromptu. Kuprin did not stop writing poetry all his life. However, he found his true calling in prose. In 1889, as a student at a military school, he published his first story, The Last Debut, and was sent to a punishment cell for violating the rules of the school, whose pupils were forbidden to appear in print.
Work in journalism gave Kuprin a lot. In the 1990s, he published feuilletons, notes, court chronicles, literary critical articles, and travel correspondence on the pages of provincial newspapers.
In 1896, Kuprin's first book was published - a collection of essays and feuilletons "Kyiv Types", in 1897 a book of short stories "Miniatures" was published, which included the writer's early stories published in newspapers. The writer himself spoke of these works as "the first childish steps on the literary road." But they were the first school of the future recognized master of the short story and artistic essay.
2. Analysis of the story "Moloch"
Work in the forge shop of one of the metallurgical plants of Donbass introduced Kuprin to work, life and mores of the working environment. He wrote the essays "Yuzovsky Plant", "In the Main Mine", "Rail Rolling Plant". These essays were a preparation for the creation of the story "Moloch", published in the December issue of the magazine " Russian wealth» for 1896.
In "Moloch" Kuprin mercilessly exposed the inhuman nature of emerging capitalism. The very title of the story is symbolic. Moloch - according to the concepts of the ancient Phoenicians, is the god of the sun, to whom human sacrifices were made. It is with him that the writer compares capitalism. Only Moloch-capitalism is even more cruel. If one human sacrifice per year was offered to Moloch-god, then Moloch-capitalism devours much more. The hero of the story, engineer Bobrov, calculated that at the plant where he works, every two days of work "devour a whole person." "Damn it! - exclaims the engineer, excited by this conclusion, in a conversation with his friend Dr. Goldberg. - Do you remember from the Bible that some kind of Assyrians or Moabites brought human sacrifices to their gods? But after all, these copper gentlemen, Moloch and Dagon, would blush with shame and resentment before the figures that I have just given. This is how the image of the bloodthirsty god Moloch appears on the pages of the story, which, like a symbol, passes through the whole work. The story is also interesting because here for the first time in the work of Kuprin the image of an intellectual-truth seeker appears.
Such a seeker of truth is the central character of the story - engineer Andrey Ilyich Bobrov. He likens himself to a person “who was skinned alive” - he is a soft, sensitive, sincere person, a dreamer and a truth-seeker. He does not want to put up with violence and the hypocritical morality that covers this violence. He stands up for purity, honesty in relations between people, for respect for human dignity. He is sincerely outraged that a person becomes a toy in the hands of a bunch of egoists, demagogues and rogues.
However, as Kuprin shows, Bobrov's protest has no practical way out, because he is a weak, neurasthenic person, incapable of struggle and action. Outbursts of indignation end with him admitting his own impotence: “You have neither determination nor strength for this ... Tomorrow you will again be prudent and weak.” The reason for Bobrov's weakness is that he feels alone in his outrage at injustice. He dreams of a life based on pure relationships between people. But how to achieve such a life - he does not know. The author himself does not give an answer to this question.
We must not forget that Bobrov's protest is largely determined by a personal drama - the loss of his beloved girl, who, tempted by wealth, sold herself to a capitalist and also became a victim of Moloch. All this does not detract from, however, the main thing that characterizes this hero - his subjective honesty, hatred of all kinds of injustice. The end of Bobrov's life is tragic. Internally broken, devastated, he ends his life suicide.
The personification of the pernicious power of the chistogan is the millionaire Kvashnin in the story. This is a living embodiment of the bloodthirsty god Moloch, which is already emphasized by the very portrait of Kvashnin: “Kvashnin was sitting in an armchair, spreading his colossal legs and sticking out his belly, similar to a Japanese idol of rough work.” Kvashnin is the opposite of Bobrov, and he is portrayed by the author in sharply negative tones. Kvashnin makes any deal with his conscience, any immoral act, even a crime, to satisfy his own. whims and desires. The girl he likes - Nina Zinenko, Bobrov's bride, he makes his kept woman.
The corrupting power of Moloch is especially strongly shown in the fate of people striving to climb into the number of "chosen ones". Such, for example, is the director of the Shelkovnikov plant, who only nominally manages the plant, in everything obeying the protégé of a foreign company, the Belgian Andrea. Such is one of Bobrov's colleagues - Svezhevsky, who dreams of becoming a millionaire by the age of forty and is ready for anything in the name of this.
The main thing that characterizes these people is immorality, lies, adventurism, which have long become the norm of behavior. Kvashnin himself is lying, pretending to be an expert in the business he leads. Shelkovnikov lies, pretending that it is he who manages the plant. Nina's mother lies, hiding the secret of her daughter's birth. Svezhevsky lies, and plays the role of Nina's fiancé. Dummy directors, dummy fathers, dummy husbands - such, according to Kuprin, is a manifestation of the universal vulgarity, falsity and lies of life that the author and his positive hero cannot put up with.
The story is not free, especially in the history of the relationship between Bobrov, Nina and Kvashnin, from a touch of melodrama, the image of Kvashnin is deprived of psychological credibility. And yet, "Moloch" was not an ordinary event in the work of a novice prose writer. The search for moral values, a person of spiritual purity, outlined here, will become the basis for Kuprin's further work.
Maturity usually comes to a writer as a result of the many-sided experiences of his own life. Kuprin's work confirms this. He felt confident only when he stood firmly on the ground of reality and portrayed what he knew perfectly well. The words of one of the heroes of the Kuprinskaya “Pit”: “By God, I would like to become a horse, a plant or a fish for a few days, or to be a woman and experience childbirth; I would like to live an inner life and look at the world through the eyes of every person I meet,” they sound truly autobiographical. Kuprin tried, as far as possible, to experience everything, to experience everything for himself. This thirst, inherent in him as a person and writer, to be actively involved in everything that happens around him, led to the appearance already in early work works of the most diverse subjects, in which a rich gallery of human characters and types is displayed. In the 1990s, the writer willingly turns to the image of the exotic world of tramps, beggars, homeless people, vagrants, and street thieves. These paintings and images are at the center of his works such as "The Petitioner", "Picture", "Natasha", "Friends", "The Mysterious Stranger", "Horse Thieves", "White Poodle". Kuprin showed a steady interest in the life and customs of the acting environment, artists, journalists, and writers. Such are his stories “Lidochka”, “Lolly”, “Experienced Glory”, “Allez!”, “On Order”, “Curl”, “Nag”, the play “Clown” also adjoins here.
The plots of many of these works are sad, sometimes tragic. For example, the story "Allez!" - a psychologically capacious work inspired by the idea of humanism. Under the external restraint of the author's narration in the story, the writer's deep compassion for the person is hidden. The orphanage of a five-year-old girl turned into a circus rider, the work of a skilled acrobat under the dome of the circus full of momentary risk, the tragedy of a girl deceived and insulted in her pure and lofty feelings, and, finally, her suicide as an expression of despair - all this is depicted with the perspicacity inherent in Kuprin and skill. No wonder L. Tolstoy considered this story among the best of Kuprin's creations.
At that time of his formation as a master realistic prose Kuprin writes a lot and willingly about animals and children. Animals in Kuprin's works behave like people. They think, suffer, rejoice, fight injustice, make human friends and value this friendship. In one of later stories the writer, referring to his little heroine, will say: “You notice, dear Nina: we live next to all animals and know nothing about them at all. We just don't care. Take, for example, all the dogs that you and I have known. Each has its own special soul, its own habits, its own character. It's the same with cats. It's the same with horses. And the birds. Just like people…” In the works of Kuprin lies the wise human kindness and love of the humanist artist for everything living and living next to us and around us. These moods permeate all his stories about animals - "White Poodle", "Elephant", "Emerald" and dozens of others.
Kuprin's contribution to children's literature is enormous. He possessed a rare and difficult gift for writing about children in a fascinating and serious way, without false sweetness and schoolboy didactics. It is enough to read any of his children's stories - " Miraculous doctor”, “Kindergarten”, “On the River”, “Taper”, “The End of the Tale” and others, and we will make sure that the children are depicted by the writer with the finest knowledge and understanding of the soul of the child, with a deep penetration into the world of his hobbies, feelings and experiences.
Invariably defending human dignity and the beauty of the inner world of a person, Kuprin endowed his positive characters - both adults and children - with high nobility of soul, feelings and thoughts, moral health, and a kind of stoicism. That's better than rich them inner world, manifests itself most clearly in their ability to love - disinterestedly and strongly. Love collision underlies so many Kuprin's works of the 90s: lyric poem in the prose "Centennial", short stories "Stronger than death", "Narcissus", "The first comer", "Loneliness", "Autumn flowers", etc.
Claiming moral value man, Kuprin was looking for his goodie. He found him among people not corrupted by selfish morality, living in unity with nature.
Introduction
Realistic in A.I. Kuprin "Listrigons" and the story "Duel"
Romantic in the story "Shulamith" and the story "Olesya"
Theory and methodology holistic analysis story "Garnet Bracelet" in class 11
Conclusion
List of used literature
Introduction
The name of A. I. Kuprin is undoubtedly associated with the realistic trend in Russian literature of the early 20th century. This artist honestly and directly spoke about the pressing problems of his time, touched on many moral, ethical and social issues that worried pre-revolutionary Russian society.
Indeed, in his works he always depicted life as it can be seen every day, one has only to walk along the streets, carefully looking at everything. Although people like Kuprin's heroes are becoming less and less common now, they used to be quite common. Moreover, Kuprin could write only when he himself lived and felt. He did not invent his stories and stories at his desk, but took them out of life. Because, probably, all his books are so bright and impressive.
K. Chukovsky wrote about Kuprin that “his demands on himself, as a realist writer, depicter of morals, literally had no boundaries, (...) that he knew how to talk with a jockey like a jockey, with a cook - like a cook, with a sailor - like an old sailor. In a boyish way, he flaunted this great experience of his, boasted of it in front of other writers (before Veresaev, Leonid Andreev), because this was his ambition: to know for sure, not from books, not from rumors, those things and facts about which he speaks in my books...
Kuprin looked everywhere for that power that could elevate a person, help him find inner perfection and happiness.
Such a force could be love for a person. It is this feeling that permeates the novels and stories of Kuprin. Humanity can be called main theme such works as "Olesya" and "Anathema", "The Miraculous Doctor" and "Listrigons". Directly, openly, Kuprin speaks of love for a person not so often. But with each of his stories, he calls for humanity.
“And to realize his humanistic idea, the writer uses romantic artistic means. Kuprin often idealizes his heroes (Olesya from story of the same name) or endows them with almost unearthly feelings (Zheltkov from Garnet bracelet). Very often, the endings of Kuprin's works are romantic. So, for example, Olesya is expelled from society again, but this time she is forced to leave, that is, to leave a world alien to her. Romashov from "Duel" escapes reality, completely immersing himself in his inner world. Then, in a duel with life, he dies, unable to bear the painful split. Zheltkov in the story "Garnet Bracelet" shoots himself when he loses the meaning of life. He flees from his love, blessing his beloved: “Hallowed be thy name!”. Kuprin painted the theme of love in romantic tones. He speaks of her reverently. The writer said about his “Garnet Bracelet” that he had never written anything more chaste. This wonderful story about love, in the words of Kuprin himself, - "a great blessing to everything: earth, waters, trees, flowers, skies, smells, people, animals and eternal goodness and eternal beauty contained in a woman." Despite the fact that the "Garnet Bracelet" is based on real life facts and his heroes have their prototypes, he is the brightest example romantic tradition. This tells us about Kuprin's ability to see in reality the poetically sublime, and in man - the best and purest. Therefore, we can call this writer both a realist and a romantic at the same time. Realistic in A.I. Kuprin "Listrigons" and the story "Duel" An experienced person who traveled around Russia more than once, changed many professions, easily approached a wide variety of people, Kuprin accumulated a huge store of impressions and shared them generously and enthusiastically. In his stories, beautiful pages are devoted to love - painful or triumphant, but always bewitching. Critically depicting life “as it is”, Kuprin made one feel the life that should be. He believed that a person who "came into the world for immense freedom, creativity and happiness will be happy and free." However, his ideal was a wandering, vagabond life full of colorful adventures and accidents. And his sympathies are always on the side of people who, for one reason or another, find themselves outside the framework of a measured and prosperous existence. kuprin story realistic A singer of patriarchal naturalness, it was not by chance that Kuprin was attracted to forms of labor associated with nature. This is not a burdensome duty at the machine or in a stuffy mine, but work "with the sun in the blood", under a fresh wind in the vast expanses of water. Calling his heroes "listrigons" after the fabulous fishermen-pirates from the Odyssey, Kuprin emphasized the immutability, stability of this little world, which had retained its customs almost from Homer's times, and idealized this ancient type of catcher, hunter, son of nature, as if untouched by time. . But under the antique masks, the living faces of contemporary Balaklava Greeks Kuprin were guessed, their current worries and joys were felt. The "Listrigons" reflected episodes of the writer's friendly communication with the Crimean fishermen; all the heroes of the cycle are real people, Kuprin did not even change their names. Thus, from the fusion of prose and poetry, truth and legend, one of the best examples of Russian lyrical essay emerged. During the years of the maturing of the first Russian revolution, Kuprin devoted himself to work on his the largest work- the story "Duel". The action of the story, published in 1905, takes place in the 90s. However, everything in it breathed modernity. The work gave a deep explanation of the reasons for the defeat tsarist army in an inglorious war with Japan. Moreover, generated by Kuprin's desire to expose the vices of the army environment, "Duel" was a stunning blow to all the orders of tsarist Russia. "Regiment, Officers and Soldiers" written close-up in organic interaction with the main character. In "Duel" we see realistic paintings that create a large canvas in which "minor" characters can be as important to the artistic whole as the main images. The story is strong, first of all, accusatory pathos. Kuprin, as you know, was well aware of the wild customs army life, where the highest army ranks treated the soldiers like cattle. Officer Archakovsky, for example, beat his batman to such an extent that "blood was not only on the walls, but also on the ceiling." The officers were especially angry during the senseless drill of the soldiers, when preparations were underway for parade reviews, on which their service career depended. The plot of the work is everyday tragic: Lieutenant Romashov dies as a result of a duel with Lieutenant Nikolaev. Romashov, a city intellectual in the uniform of a second lieutenant of a provincial regiment, suffers from the vulgarity and nonsense of life, "monotonous as a fence, and gray as a soldier's cloth." The general atmosphere of cruelty, violence, impunity that prevailed among the officers creates the prerequisites for the inevitable emergence of a conflict. Romashov feels “a surge of warm, selfless, endless compassion” for the hunted soldier Khlebnikov. The author does not idealize the young Romashov, does not make him a fighter against the way of army life. Romashov is only capable of timid disagreement, of hesitant attempts to convince that cultured, decent people should not attack an unarmed man with a saber: “Beating a soldier is dishonest. That's shameful". The situation of contemptuous alienation hardens Romashov. By the end of the story, he reveals firmness and strength of character. The duel becomes inevitable, and his love for married woman, Shurochka Nikolaeva, who was not ashamed to conclude a cynical deal with a man in love with her, in which his life became the stake, hastened the denouement. "Duel" brought European fame to Kuprin. The advanced public enthusiastically greeted the story, because, as a contemporary wrote, Kuprin's story "undermined, loosened, struck to death the military caste." The story is important for today's readers as a description of the duel between good and evil, violence and humanism, cynicism and purity. Romantic in the story "Shulamith" and the story "Olesya" Despite the realism of Kuprin's works, elements of romanticism can be found in any of them. Moreover, sometimes it manifests itself so strongly that it is even impossible to call some pages realistic. In the story Olesya it all starts rather prosaically, even a little boring. Forest. Winter. Dark, illiterate Polissya peasants. It seems that the author simply wanted to describe the life of the peasants and does so without embellishing anything, depicting a gray, joyless life in gray. Although, of course, the conditions in which the protagonist of the story finds himself are far from familiar to most of us, but nevertheless these are the real conditions of life in Polissya. And suddenly, among all this dull monotony, Olesya appears, an image that is undoubtedly romantic. Olesya does not know what civilization is, time in the thickets of Polesie seems to have stopped. The girl sincerely believes in legends and conspiracies, believes that her family is connected with the devil. The norms of behavior accepted in society are absolutely alien to her, she is natural and romantic. But not only the exotic image of the heroine and the situation described in the story attract the attention of the writer. The work becomes an attempt to analyze the eternal that should underlie any high feeling. Kuprin draws attention to the girl's hands, though hardened from work, but small, aristocratic, in her manner of eating and speaking. Where could a girl like Olesya come from in such an environment? Obviously, the image of the young sorceress is no longer vital, but idealized, the author's imagination worked on it. After Olesya appears in the story, romanticism already inseparably coexists with realism. Spring is coming, nature rejoices with lovers. A new, romantic world appears, where everything is fine. This is the world of love of Olesya and Ivan Timofeevich. As soon as they meet, this world suddenly appears out of nowhere, when they part, it disappears, but remains in their souls. And lovers, being in the ordinary world, strive to their own, fabulous, not accessible to anyone else. This "two worlds" is also a clear sign of romanticism. Usually the romantic hero performs an "act". Olesya is no exception. She went to church, submitting to the power of her love. Thus, the story describes the love of a real person and a romantic heroine. Ivan Timofeevich falls into the romantic world of Olesya, and she - into his reality. It becomes clear why the features of both one and the other direction can be traced in the work. One of the most important phenomena of love for Kuprin is that even a premonition of happiness is always overshadowed by the fear of losing it. On the way to the happiness of the heroes are the difference in their social status and upbringing, the weakness of the hero and the tragic prediction of Olesya. The thirst for harmonious union is generated by deep experiences. Olesya's love becomes the greatest gift that can give life to the hero of the story. In this love there is both selflessness and courage, on the one hand, and contradiction, on the other. Olesya initially understands the tragedy of the outcome of their relationship, but is ready to give herself to her lover. Even leaving her native places, beaten and dishonored, Olesya does not curse the one who killed her, but blesses those brief moments of happiness that she experienced. The writer sees the true meaning of love in the desire to disinterestedly give to his chosen one all the fullness of feelings that he is capable of. loving person. A person is imperfect, but the power of love can, at least for a short time, restore to him the sharpness of sensations and naturalness, which only people like Olesya have preserved in themselves. The strength of the soul of the heroine of the story is able to bring harmony even in such contradictory relationships as those described in the story. Love is contempt for suffering and even death. It's a pity, but only a select few are capable of such a feeling. But sometimes Kuprin does not come up with anything ideal. IN duel I don't think there is a single perfect image. If Shurochka at first seems beautiful (she is so smart, beautiful, although she is surrounded by vulgar, cruel people), then this impression soon disappears. Shurochka is not capable of true love, like Olesya or Zheltkov, she prefers the external brilliance of high society to her. And as soon as you understand this, her beauty, mind, and feelings appear in a different light. Lyubov Romashova, of course, was purer and sincere. And although he is not at all idealized by the author, he can be considered a romantic hero. He is very keenly experiencing and feeling everything. In addition, Kuprin leads Romashov through life's suffering: loneliness, humiliation, betrayal, death. On the background realistic image orders of the tsarist army, vulgarity, cruelty, rudeness, another person stands out - Nazansky. This is a real romantic hero. It is in his speeches that one can find all the basic ideas of romanticism about the imperfection of this world, about the existence of another, beautiful, about eternal struggle and eternal suffering. As you can see, in his works Kuprin did not adhere to the framework of only realistic direction. In his stories there are romantic tendencies. He places romantic heroes in everyday life, in a real setting, next to ordinary people. And very often, therefore, the main conflict in his works becomes the conflict of a romantic hero with everyday life, dullness, and vulgarity. Kuprin had the ability to combine reality with romantic fiction in his books. Perhaps this is the most wonderful ability to see the beauty in life, admirable which many people are missing. But if you can see the best aspects of life in life, then, in the end, out of the most boring and gray everyday life, a new, wonderful world can be born. The perception and comprehension of a work of art as a whole has become especially significant in our time. Attitude modern man to the world as an integrity has a valuable, vital meaning. Art from the very beginning was aimed at the emotional sensation and reproduction of the integrity of life. Therefore, “... it is in the work that the universal principle of art is clearly realized: the re-creation of the integrity of the world of human life as an endless and incomplete “social organism” in the final and complete aesthetic unity of the artistic whole.” Literature in its development, temporal movement, that is, the literary process, reflected the progressive course of artistic consciousness, striving to reflect people's mastery of the integrity of life and the destruction of the integrity of the world and man accompanying this movement. In order to more or less exhaustively cognize a work of art, it is necessary, ideally, to go through all three stages of its scientific consideration, without missing anything in them. This means that it is necessary to realize the work as a whole at the level of primary perception, then conduct a rigorous analysis of it by elements and, finally, complete the consideration with a system-holistic synthesis. Ideally, the method of analysis should be different for each work, it should be dictated by its ideological and artistic features. In order for a selective analysis not to be random and fragmentary, it must at the same time be a holistic analysis. It would seem a contradiction, but in fact it is not. Only with a holistic view of the system, it is possible to determine which aspects, elements and connections in it are more significant, and which are of an auxiliary nature. First of all, it is necessary to know the “law of the whole”, the principle of its organization, and only then he will tell you what exactly to pay attention to. Therefore consideration artwork it is necessary to start not with analysis, but with synthesis. First of all, it is necessary to realize your integral first impression and, having checked it mainly by rereading, formulate it at the conceptual level. At this stage, it is already possible to carry out a key operation for further holistic-selective analysis - to determine the content and style dominants of the work. This is the key that opens the integrity of the structure of an artistic creation and determines the paths and directions further analysis. So, if the dominant of the content lies in the field of problems, then the subject matter of the work can be completely not analyzed, focusing on the connection between the problematics and the idea; if in the field of pathos, then an analysis of the subject matter is necessary, since pathos naturally combines objective and subjective moments, but in this case the problematic is not so important. A more specific definition of dominants also suggests more specific ways of analysis: for example, ideological and moral issues require close attention to the individual “philosophy” of the hero, to the dynamics of his views and beliefs, while his connection with social sphere are usually secondary. The sociocultural problem, on the contrary, dictates increased attention to statics, to the invariable features of the external and internal appearance of the characters, to the connections of the hero with the environment that gave birth to him. Highlighting stylistic dominants also indicates what should be done in the work in the first place. So, it makes no sense to analyze the elements of the plot if we observe descriptiveness or psychologism as a stylistic dominant; tropes and syntactic figures are analyzed if style dominant- rhetoric; complex composition directs attention to the analysis of extra-plot elements, narrative forms, subject details, etc. As a result, the set task is achieved: the saving of time and effort is combined with the comprehension of the individual ideological and artistic originality of the work, the selective analysis turns out to be at the same time holistic. "Garnet bracelet" has an unusual creative history. Work on the story went on in the autumn of 1910 in Odessa. At this time, Kuprin often visited the family of the Odessa doctor L. Ya. Maisels and listened to Beethoven's Second Sonata performed by his wife. Musical composition so captured Alexander Ivanovich that work on the story began with the fact that he wrote down the epigraph. L. Van Beethoven. 2 Son. (op. 2, no. 2). Largo Appassionato . Sonata by Beethoven Appassionata", one of the most intense, languid, passionate creations of the human genius in music, awakened Kuprin to literary creativity. The sounds of the sonata connected in his imagination with the story of bright love, which he was a witness to. From the correspondence of Kuprin and memoirs, the prototypes of the heroes of the story are known: Zheltkov - a petty telegraph official P.P. Zheltikov, Prince Vasily Shein - member of the State Council D.N. Lyubimov, Princess Vera Sheina - his wife Lyudmila Ivanovna, nee Tugan - Baranovskaya, her sister Anna Nikolaevna Friesse - sister of Lyubimova, Elena Ivanovna Nitte, brother of Princess Sheina - official of the State Chancellery Nikolai Ivanovich Tugan - Baranovsky. The story went through a number of editions in French, German, English, Swedish, Polish, Bulgarian, Finnish. Foreign criticism, noting the subtle psychologism of the story, hailed it as "a gust of fresh wind." For a holistic analysis of a work of art, students need to ask the following questions: What is the work of A. I. Kuprin about? Why is it so named? (The story "Garnet Bracelet" sings of the feeling of the "little man", the telegraph operator Zheltkov, to Princess Vera Nikolaevna Sheina. The story is so named because the main events are connected with this decoration.) How artistically transformed Kuprin real story heard by him? (Kuprin embodied in his creation the ideal of beautiful, omnipotent, but not mutual love, showed that small man capable of a great, all-encompassing feeling. Kuprin ended the story with the death of the hero, which made Vera Nikolaevna think about love, about feeling, made her worry, sympathize, which she had not done before). How do we find out about Zheltkov's love? Who talks about her? (We learn about Zheltkov's love for the first time from the stories of Prince Shein. The prince intertwines truth with fiction. For him, this funny story. The image of Zheltkov in the stories of the prince undergoes changes: a telegraph operator - changes into a chimney sweep - becomes a dishwasher - turns into a monk - dies tragically, leaving a will after death). Read the description autumn garden. Why does it follow the description of Vera's feelings for her husband? Is she happy? (The author shows that her manners are distinguished by cold courtesy, regal calmness. “The former passionate love is long gone,” maybe Vera does not love her husband because she does not know love, therefore she treats her husband with a “sense of lasting, faithful, true friendship” She is a sensitive, selfless and delicate person: she tries to quietly help her husband "make ends meet".) Highlight important key episodes of the story and correlate plot elements with them. (1. Vera's name day and Zheltkov's gift - the plot 2. Nikolai Nikolaevich and Vasily Lvovich's conversation with Zheltkov - the climax. 3. Zheltkov's death and farewell to him - the denouement.) How is Kuprin portrayed Zheltkov and his love? Why does he "force" Vera to listen to Beethoven's second sonata? (Looking at his face, Vera recalls the same peaceful expression on the masks of the great sufferers - Pushkin and Napoleon. Zheltkov is great in his suffering, his love. The detail of the rose, meaning love, death, is symbolic (I. Myatlev's poem "Roses", I. S. Turgenev "How good, how fresh were the roses"), the perfection of the universe. In the story, two are awarded roses: General Anosov and Zheltkov. Last letter beautifully, like poetry, convinces the reader of the sincerity and strength of his feelings. For Zheltkov, to love Vera even without reciprocity is "huge happiness." Saying goodbye to her, he writes: “Leaving, I say in delight: “Hallowed be thy name.” Zheltkov truly loves, with passionate, disinterested love. He is grateful to the one who caused a wonderful feeling in his heart. Death does not frighten him. Garnet bracelet, not accepted by Vera, the hero asks to hang on the icon. This deifies his love and puts Vera on a par with the saints. Zheltkov is talented in his love, like Pushkin and Napoleon. Talent is unthinkable without realization, but the hero remained misunderstood. Posthumously, Zheltkov bequeathed to Vera to listen to Beethoven's sonata, a majestic meditation on the gift of life and love. The greatness of the experience common man is comprehended to the sounds of music, as if conveying shocks, pain, happiness, and unexpectedly displaces everything vain, petty from the soul, instills reciprocal ennobling suffering.) How does Zheltkov appear in his suicide letter? (Zheltkov admits that crashed with an uncomfortable wedge into the life of Vera and is infinitely grateful to her only for the fact that she exists. His love is not a disease, not a manic idea, but a reward sent by God. His tragedy is hopeless, he is a dead man). What is the mood of the finale of the story? (The finale is imbued with a feeling of light sadness, not tragedy. Zheltkov dies, but Vera awakens to life, the same “ big love which repeats itself once in a thousand years.") Does perfect love exist? Is loving and being loved the same thing? What's better? What is the fate of the garnet bracelet? (The unfortunate lover asked to hang a bracelet - a symbol of holy love - on the icon) Is there an unearthly love? (Yes, it does. But very rarely. It was this kind of love that A. Kuprin described in his work) How to attract love? (It’s not enough to wait for love, you have to learn to love yourself, to feel like a particle of the world around you) Why does love govern a person, and not vice versa? (Love is an eternal stream. A person reacts to the waves of love. Love is eternal, it was, is and will be. And a person comes and goes) How does A.I. Kuprin see true love? (true love is the basis of everything earthly. It should not be isolated, undivided, it should be based on high sincere feelings to strive for the ideal. Love stronger than death, it elevates a person) What is love? (Love is a passion, these are strong and real feelings that elevate a person, awaken him best qualities, this is truthfulness and honesty in a relationship). Love for the writer is the basis of everything that exists: “Love must be a tragedy, the greatest mystery in the world. And no vital inconveniences, calculations and compromises should concern her.” His characters are people open mind And with a pure heart, rebelling against the humiliation of man, trying to defend human dignity. The writer sings of sublime love, contrasting it with hatred, enmity, mistrust, antipathy, indifference. Through the mouth of General Anosov, he says that this feeling should not be either frivolous or primitive, and, moreover, based on profit and self-interest: “Love should be a tragedy. The greatest secret in the world! touch". Love, according to Kuprin, should be based on lofty feelings, on mutual respect, honesty and truthfulness. She must strive for perfection. Conclusion Today, the works of A. Kuprin are of great interest. They attract the reader with their simplicity, humanity, democracy in the noblest sense of the word. The world of A. Kuprin's heroes is colorful and crowded. He himself lived a bright life filled with diverse impressions - he was a military man, a clerk, a land surveyor, and an actor in a traveling circus troupe. A. Kuprin said many times that he does not understand writers who do not find anything more interesting in nature and people than themselves. The writer is very interested human fates, while the heroes of his works are most often not successful, successful, satisfied with themselves and life people, but rather the opposite. Kuprin struggled with the emigrant fate, he did not want to submit to her. He tried to live an intense creative life and continue to serve literature. It is impossible not to pay tribute to the talented writer - even in these difficult years for him, he managed to make a significant contribution to Russian literature. The work of Alexander Ivanovich Kuprin was highly valued by Anton Pavlovich Chekhov, Alexei Maksimovich Gorky, Lev Nikolaevich Tolstoy. Konstantin Paustovsky wrote about him: “Kuprin cannot die either in the memory of Russians or in the memory of many people - representatives of mankind, just as the angry power of his “Duel”, the bitter charm of the “Garnet Bracelet”, the amazing picturesqueness of his “Listrigons” cannot die, just as his passionate, intelligent and direct love for man and for his land cannot die. The moral energy and artistic, creative magic of Kuprin come from the same root, from the fact that he can be safely called the healthiest, most cheerful and life-loving in the circle of Russian writers of the 20th century. Kuprin's books must certainly be read, lived in youth, for they are a kind of encyclopedia of healthy, morally impeccable human desires and feelings. List of used literature Korman B.O. On the integrity of a work of art. Proceedings of the Academy of Sciences of the USSR. Ser. literature and language. 1977, No. 6 Kuprin A. I. Garnet bracelet.- M., 1994. - S. 123. Paustovsky K. The stream of life // Collected. op. in 9 volumes. - M., 1983. T.7.-416 p. Chukovsky K. Contemporaries: portraits and studies (with illustrations): ed. Central Committee of the Komsomol "Young Guard", M., 1962 - 453 p.
