love popped up
in front of us like a killer
jumping out of the corner
and instantly hit us
both at the same time…”
M. Bulgakov.
The theme of love in literature is always relevant. After all, love is the purest and most beautiful feeling that has been sung since ancient times. Love is always the same, whether it is youthful or more mature love. Love doesn't get old.
If you build a pedestal of love, then undoubtedly in the first place will be the love of Romeo and Juliet. This is the most beautiful love story that has immortalized its author - Shakespeare. Love Romeo and Juliet at first sight, from the first words. Two lovers go against fate, despite the enmity between their families, they choose love. Romeo is ready to give up even his name for love, and Juliet is ready to die, just to be Faithful to Romeo and their love. They die in the name of love, they die together because they cannot live without each other. The life of one loses its meaning without the other. Although this love story is tragic, the love of Romeo and Juliet will always and everywhere, at any time, be equal to lovers.
But centuries change, years fly by, and the world changes. Although love is eternal, it also changes. It also becomes more modern, somewhere more prudent and somewhere even cruel. And if love is one-sided, then it dies altogether. So the love of Bazarov and Odintsova died in the work of I. Turgenev "Fathers and Sons". Two collided the same strong personalities. Their common interests The conversation eventually turned into love. But only Bazarov turned out to be loving. Love for him becomes a strong shock, which he did not expect. For Bazarov, before meeting Odentsova, love played no role. All human suffering, emotional experiences were unacceptable for his world. He is a lone hero, an upstart from society; only he exists, everything else is of no interest to him. But we are all people and do not know in advance what fate has prepared for us. Therefore, Bazarov perceives his love very painfully. It is difficult for him to confess, first of all, to himself, in his feelings, not to mention Odintsova. And he squeezes his confession out of himself. And Odintsova is a prudent nature. As long as her interests were affected, the desire to learn new things, Bazarov was also interesting to her. But as soon as the topics were exhausted, then interest disappeared. She lives in her own world, in which everything is according to plan, and nothing can upset this order, even love. And she will get married, because it is convenient only for her. And Bazarov? Bazarov is a temporary, unexpected change that flew in like a draft and immediately flew out. Such love cannot survive, so Bazarov and Odentseva diverge in different sides.
If we consider love in the work of M. Bulgakov "The Master and Margarita", but we will certainly stumble upon love for the sake of which the characters also make sacrifices, as in "Romeo and Juliet". The love of the master and margarita will be eternal, only because one of them will fight for the feelings of both. And sacrifice himself for the sake of Margarita's love. The master will get tired and afraid of such a powerful feeling, which will eventually lead him to a madhouse. There he hopes that Margarita will forget him. Of course, the failure of the written novel also influenced him, but to give up love? Is there anything that can make you give up love? Alas, yes, and this is cowardice. The Master runs away from the whole world and from himself.
But Margarita saves their love. Nothing stops her. For the sake of love, she is ready to go through many trials. Need to become a witch? Why not, if it helps to find a lover.
Her strong love in the end, she wins, Margarita saves the Master from madness, their love, which, finding peace, will be eternal.
No matter how different love is, this feeling is still beautiful. Therefore, they write so much about love, compose poems, love is sung in songs. Creators beautiful works can be listed indefinitely, since each of us, whether he is a writer or a simple person, has experienced this feeling at least once in his life. In my opinion, without love there will be no life on earth. And when reading works, we come across something sublime, which helps us to consider the world from the spiritual side. After all, with each hero we experience his love together.
In preparing this work, materials from the site http://www.studentu.ru were used.
That Russian literature of the 19th-20th centuries constantly turned to the theme of love, trying to understand its philosophical and moral sense. On the example of works literature XIX– XX centuries considered in the abstract, I tried to reveal the theme of love in literature and philosophy, using a look at it different writers And famous philosopher. So, in the novel "The Master and Margarita", Bulgakov sees in love a force, ...
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As if conveying to the heroine his shock, his pain and happiness, and unexpectedly displaces all vain things from the soul, instilling reciprocal ennobling suffering. Last letter Zheltkova raises the theme of love to a high tragedy. It is dying, so each of its lines is filled with special deep meaning. But it is even more important that with the death of the hero, the sound of the pathetic motives of the all-powerful ...
The years are bleak. He sees an inexorable law operating in human relations: the law of suffering, evil and destruction. Hence the tragic understanding of love that permeated all of Tyutchev's later lyrics: The union of the soul with the soul of one's own - Their union, combination, And their fatal merger, And the fatal duel ... Feelings are strong and selfless, hearts are devoted to each other, however, "the union of the soul with the soul" destructive. If...
Epigraph: “Life is easier without love. But without it, there's no point." (L.N. Tolstoy)
What is love? This question, of course, worries every person. Not without reason, many works are devoted to the eternal problems of love. fiction. This topic was especially exciting for the great Russian writers: A.P. Chekhov, I.S. Turgenev, I.A. Bunina, A.I. Kuprin. Each of them had their own, personal, attitude to love experiences, which were for their heroes either serious test, or became the cause of heavy drama, or led to serious reflection and spiritual renewal.
As Pavel Konstantinovich Alekhine, the protagonist of Chekhov's story "On Love", argues, the Russian intelligentsia, who are very interested in questions of love, complicates everything and prefers to "decorate their feelings with fatal questions": honest or dishonest, smart or stupid, and what all this can lead to ? In his opinion, love does not tolerate any laws, and each lover or lover manifests in his own way.
Someone else's experience is completely useless. It was doubts about the correctness of his attraction that prevented Alekhine himself from loving Anna openly and boldly, admitting this not only to her, but also to himself. The understanding that there should be no barriers and reservations for love came to him too late and brought only pain and sad memories. And yet he realized his fatal mistake: "I realized that when you love, then in your reasoning about this love you need to proceed from something higher, from something more important than happiness or unhappiness, sin or virtue in their current sense, or you don't need to reason at all." Understood, but was already deeply unhappy.
About how important it is not to overlook your happiness, Turgenev writes in the story "Asya". Main character N, like Alekhine in Chekhov's story "On Love", begins to understand how strong his feeling for Asya was only when he lost her love forever. With his indecision and rationality, he ruined everything. In general, he was afraid of light and strong feeling girls, offending her and pushing her away. Years later, having "lost all his winged hopes and aspirations", he sacredly keeps objects that remind him of Asa, and yearns in complete solitude.
About the complexities love relationships also wrote Bunin and Kuprin. But they approached this topic in different ways. For Bunin, love is a strong and at the same time disturbing emotion. Sometimes everything ends in tragedy, because the actions of heroes in love are not always noble and honest. Passionate and irresponsible feelings are destructive. So, in the story "Caucasus", a deceived husband kills himself because of the betrayal of his wife, who loved another person and secretly left with him to rest in the Caucasus, although she was afraid and suffered. Her stolen love was not happy, unlike Verochka's love in Kuprin's story "The Lilac Bush". Vera not only loves her husband Almazov, but sacrifices a lot for him, supports him and helps in everything. Love gives strength for this, which Vera needs also because Almazov is weak, nervous and not very clever man. But it doesn't matter to her. She is happy when her husband is calm and pleased with himself.
Love is a very strong and multifaceted feeling. Its power can be directed both to creation and destruction. No matter how much they think, no matter how much they write, the answer to the question of what love should be, each person finds for himself. The poet K. Janet said this simply and precisely:
Two guys argued so hotly
That anyone would hear them.
They talked over and over
About what love is.
"Love is joy!" - one spoke.
"No, victim," replied another.
“Love is a force that is above all pitchforks!”
“No, weakness,” said another.
"Love is happiness! Love is light!”
One shouted enthusiastically.
"Happy love does not exist and does not exist" -
The other replied sullenly.
Realizing that their conversation had reached a dead end,
Friends approached the old man.
"Father, you will help to resolve this dispute,
The theme of love in Russian literature
Like all other literatures of the world, Russian literature devotes considerable space to the theme of love; its "specific", let's say, weight is no less than in French or English literature (although "love stories" in pure form in Russian literature are not so common, more often love story burdened with sidelines and themes). However, the implementation of this theme in various texts belonging to the Russian classical literature, is distinguished by its great originality, which sharply distinguishes it from all other literatures of the world. Let's take a look at what exactly this uniqueness is.
First of all, Russian literature is characterized by a serious and close look at love and, more broadly, intimate relationship between man and woman. The motto of such an attitude can be famous proverb"Love is no joke." Russian satire little and reluctantly intrudes into the realm of the personal. Chichikov’s momentary love for a thin and transparent college girl, who turned out to be the governor’s daughter, has as little to do with the love theme as the “sufferings” of the widowed lady from Chekhov’s early story “The Mysterious Nature”, who once left her beloved for the sake of a rich general and now has no the strength to give up another wealthy general in the name of his feelings.
There is only one reason for such seriousness: love in Russian literature almost always belongs to the realm of dramatic and very often tragic pathos, but very rarely the history of the relationship between a man and a woman - whether in prose or poetry - gives a reason for fun. The "happy ending", beloved by Dickens and sometimes even tolerated by Balzac, is not only absent from Russian literature, it is as alien to it as Chopin's waltzes and South Chinese folk music. All the famous love stories of Russian classics, from Karamzin's "Poor Lisa" to Bunin's "Dark Alleys", are very tense and end very badly. "Happy ending" in this context can be considered the finale of "Eugene Onegin" - Tatyana, being faithful wife another, will forever love a person unworthy of her, Onegin will forever be lonely, but at least they remained alive.
Can we assume that such a gloomy color love theme in Russian literature were influenced by some more general patterns, for example, some kind of special anguish and tragedy inherent in it? Such a statement of the question seems to be controversial. Berdyaev once called Russian literature "prophetic", and this is true, but one can hardly reproach it (as well as all Russian culture as a whole) with hopeless gloominess. (For doubters, we recommend comparing "Songs Western Slavs"with Russian folklore, recorded by the same Alexander Sergeevich). Of course, the implementation of this topic is in contact with the general spiritual dominant and philosophical paradigm of Russian literature, but this happens in a slightly different way.
The tragedy in the development of love themes stems from several sources, the most ancient and full-flowing of which is, of course, folk tradition. Only in Russian folklore are love ditties called "suffering", only in the Russian village the synonym for the word "love" was the word "pity". Notice that the emphasis is on the sad, painful side of the relationship between a man and a woman, and not sexual desire is elevated to the head of the relationship (which does not mean, of course, that there is no special subculture in the same folklore that describes the "shameful" - fairy tales, ditties, etc. .), But spirituality- a pity. Let's listen to the meaning of the word "spouses": these are not legalized lovers, these are "companions", pulling a common cart in one harness. Here, the popular, perhaps still pagan, understanding of marriage and love echoes the Christian, Orthodox understanding of marriage as a test of the strength of spiritual and physical strength man, hard work in the name of highest goal. From the pagan past came wedding ceremonies in the Russian North: in the Arkhangelsk villages, a bride, magnificently dressed up at a wedding feast, walked down the aisle in the same “bruise”, a simple blue sundress, in which they put in a coffin. Thus, marriage was on the same level as birth and death. (Note in brackets that it is interesting to compare this custom with Tolstoy's idea that one must marry like dying, only when it is impossible otherwise.)
Ancient customs and realities of later times find powerful nourishment in the peculiarities of medieval Russian culture. One should not overestimate the depth of Peter's transformations precisely in the field of intimate, personal life of a person. Thousand-year foundations cannot be changed along with the dress. Medieval Russian (and not only Russian) culture is characterized by a certain dualism, the division of man into sinful flesh and a spirit striving for grief. In Europe, this dualism was overcome by the birth of a full-blooded man of the Renaissance, the hero of Rabelais and Boccaccio. The opposition between corporeal and carnal, base and high is removed. New person wholesome and cheerful, he calmly looks at the desires of the flesh, considering them natural, and does not see big sin in satisfying these desires.
There was no Renaissance in Russian culture.
The medieval opposition of flesh and spirit survived the reforms of Peter the Great and the radical experiments of the positivist-nihilists of the 19th century, survived into the 20th century, and still feels good today. If in doubt, read the newspapers: from time to time they publish letters from women who are offended by advertisements for pads on television (mass consciousness, based on stereotypes, is shocked by the intrusion of "forbidden", "grassroots" topics into "high", "cultural" spheres).
So the flesh is opposed to the spirit. The flesh is sinful, it must be humbled, its rebellion is fraught with fatal consequences. What underlies the fall of the Russian Faust of the 17th century, Savva Grudtsyn? Not a thirst for knowledge and not pride, like Dr. Agrippa of Nestheim, no, he is destroyed by carnal passion for someone else's wife. "And, captured by the deceptive caress of that woman, and truly to say - by the envy of the devil, Savva fell into the network of adultery with this woman." In exchange for her favor, he sells his soul.
The only permitted way to realize sinful thoughts is marriage, but the attitude towards it is strict. It is interesting to contrast the self-perception of contemporaries, Henry VIII in England and Ivan the Terrible in Russia, married 6-7 times. Ivan the Terrible, who personally strangled his illegitimate children (he believed that they were not pleasing to the Lord), during periods of repentance feels like a terrible sinner. He writes in an appeal to the monks of the Kirillo-Belozersky Monastery: “And for me, a stinking dog, who should I teach and what should I punish, what should I enlighten? hatred, in every villainy." Contemporaries never noted similar moods in Henry VIII. A perceptible fall is possible only from a high point, and this high point was traditional attitude to love and marriage.
In it, the tops and bottoms are inseparable, at least until the Petrine era; in Russian folklore, unlike French or ancient Indian, there is no image of a woman-lover. His heroine is either an unmarried, innocent girl, or a wife, or a widow, premarital relations - the relationship of the bride and groom. And, of course, in a world split into darkness and light, into holiness and sin, it is impossible and unimaginable to have a "lightened" attitude towards the sexual side of life. Everything that happens outside the marital bed is not defined as a passion and not as a natural need. There is only one word for him - fornication.
This medieval dualism is most fully and vividly embodied, of course, in Katerina from The Thunderstorm. It was not a protest against society, as it seemed to the boy critics, that drove her to a steep cliff above the Volga. For Katerina, there is no justification for her sinful passion, because such justification does not exist within the framework of traditional, patriarchal-medieval ethics. She can either fall further, lower and lower (that’s why she asks Boris to take her away, that’s why she is ready to live with him in an illegal relationship - it doesn’t matter way back no!), or to atone for a terrible sin - a long repentance (perhaps for life) or death, which is what happens. For a "fallen" woman or girl in a patriarchal society there is no legitimate role, just as there is no something in between the sublime and pure love and fornication.
There is no "something in between" in all Russian literature. Relations between lovers - the heroes of Russian classics - are either heated to such a level of purity and height, which for the third century continues to amaze other ecumene, or this is vile debauchery, or both (which is especially characteristic of Dostoevsky's heroes). But it is very difficult, living on Earth in real world, to preserve the transcendent holiness of feelings, and that is why every second Russian "love story" is a tragedy. Someone will die, someone will go crazy, someone will go to hard labor, and many will part forever.
The timid dreamer Piskarev will cut his own throat, discovering in his ideal of beauty an ordinary prostitute; go to hard labor Lady Macbeth Mtsensk district and there, to atone for a long-standing sin, Nekhlyudov will go for Katyusha Maslova. Rogozhin will kill Nastasya Filippovna, Karandyshev the dowry Larisa, Kazbich will shoot poor Bela, and Aleko will end the life of freedom-loving Zemfira with his own hand. In the monastery Lavretsky will meet Liza, die in the arms of Elena Insarov, under the wheels of the train the candle of Anna Karenina's life will go out. Those who wish can add to the list - whether Nina, poisoned by Arbenin, or Khromonozhka, who went crazy with love for Stavrogin, or the glorious Cossack Andriy, ruined by love for a beautiful Polish woman, or other heroes to your liking.
Reading the pages that tell about "those who died from unprecedented love" (Vysotsky), you will inevitably be surprised at the largely deliberate confusion of feelings and the complexity of collisions. The question arises: is it really impossible to be simpler, is it really impossible not to twist the knots to the extreme? But the anguish is just as obligatory for the love stories of the heroes of the classics as the opposition of "high" and "low". It's not that they can't help but suffer, they just want to suffer (remember "suffering"?).
This is exhaustively formulated by Natasha from "The Humiliated and Insulted" "But what can I do if even suffering from him is happiness for me? Do I go to him for joy?" And here it is no longer clear where suffering is and where happiness is, and whether they can be separated. Suffering is an integral, and perhaps the main part of love. Do not rush to pronounce the word "masochism". Suffering is closely related to the concept of the sinfulness of carnal love. Having suffered, such a sinful lover is cleansed by this very suffering, and his love becomes pure. This is shown very well in "War and Peace": inflamed with a physical attraction to Anatole Kuragin, Natasha pays for it with illness and months of suffering, but a more correct love for Pierre almost does not bear suffering. But, of course, the tragedy is not necessarily inherent in the relationship, it can also come from outside, for example, the heroine suffers not from the fact that she loves “wrongly” and wants to suffer, but from the fact that her beloved, say, died in the war. But this situation happens much less often.
In suffering, torment and self-torment (“There is no one to scold me - there is no dear ...”) there is almost no time left for happiness. But the formula of Russian love does not contain such an element. Here we see a truly unique relationship to happiness:
But how could I help?
I do not heal from happiness.
Happiness is not a desired state of mind and body, but a shameful disease of the deaf and well-fed. "How long shall we suffer?" asks Avvakum's wife, and Archpriest's answer "Until death" immediately gives her courage, just like Mandelstam's answer to his wife Nadezhda in a similar situation: "Why do you think you should be happy?" Indeed, does happiness have intrinsic value? With regard to personal life - obviously not, because there is nothing more nauseating than family, say, the only "correct" personal happiness in Russian novels. And is there a lot of it? The marriage of Mr. Bykov to Varenka Dobroselova, which does not bring her much joy, Natasha with an eternal filthy diaper (a striking argument of modern feminists) and Olga, carefully trained by Stolz. Well, Pushkin, as always, is trying to bring some sun into the cold atmosphere and gives us an amazing mockery of stereotypes - the final " stationmaster"; but only one Pushkin. In all the others, we see not family happiness, but different types misfortune, or it doesn’t even come to marriage at all. It's curious that great literature with an extremely low marriage and birth rate was created in an era and in a country where the norm was 8-9 children for the common people and 3-4 for aristocrats!
The unwillingness to be happy and the fundamental tragedy of love stories cannot be explained only by the medieval ethical paradigm or the influence of Russian folklore. tragic theme love in Russian classics is inextricably linked with its general tendencies, such as the painful search for harmony in the world of chaos, the thirst for faith and the pursuit of unattainable ideals in all areas of spiritual and physical existence. "Couldn't the ideals be more dedicated?" exclaims Dostoevsky. If there is an ideal of love, then it is love as the highest embodiment of perfect harmony, as the apotheosis of faith (“God is love”) and a synonym for ideal being (“Only a lover has the right to be called a man”). But the question whether the triumph of harmony in a macrocosm torn by contradictions is possible is as rhetorical as the question whether the final victory of good over evil is possible. The world of Russian literature is a tragic world, a world eternal questions without answers, the ontological piles of being sway in it and entropy triumphs, and in this world any attempt to oppose a separate, personal cozy corner with happy love and a happy ending to the ripping wind of chaos betrays the philosophical inconsistency and creative mediocrity of the author, if not his complete lack of professionalism.
In the famous 66th sonnet of Shakespeare, it is love that acts as a force that can reconcile a person with the chaos of reality, it is what holds above the abyss.
Tired with all these, for restful death J cry...
Remember? After a list of all the injustices of the world and the hardships of life, the poet says:
Tired with all these, from these J would be gone,
Save that, to die, J leave my love alone.
love literature russian
There is such an understanding of love in the Russian tradition, when through love and suffering a person rises to more high levels consciousness, acquires the meaning of life and the path to truth. But a feeling never turns into one of the building blocks of a successful house-building: regardless of the final relationship, it always rises to cosmic proportions (“Love is with sheets, torn insomnia, breaks down, jealous of Copernicus ...”) unknown villages into legends and lives, and themselves into the main participants in the universal mystery, "Where God fights the Devil, and the battlefield is the hearts of people."
Great German philosopher V.F. Hegel defined love as the highest "moral unity", as a feeling of complete harmony, renunciation of one's own selfish interests, forgetfulness of oneself, and in this forgetfulness is the acquisition of one's own "I". So, without fidelity there is no love. Moreover, fidelity is not only physical, but also spiritual, because to love means to devote yourself entirely to another, remaining devoted to your loved one both in body and in thought. This is the idea of many works of Russian classics devoted to the problem of the correlation of these two moral categories: love and fidelity, their inseparability and unity.
- Love knows no time, no barriers. In the story of I.A. Bunin " Dark alleys The heroine meets the one who once abandoned her and consigned their union to oblivion. He turns out to be a random guest at her inn. Over the long years of separation, they both changed, embarking on completely different paths in life. He hardly recognizes the woman he loved in the past. However, she carries her love for him through the years, remains lonely, preferring a life full of hard everyday work and life to family happiness. And only the very first and main feeling that she once experienced becomes the only happy memory, the very attachment, the loyalty of which she is ready to defend at the cost of loneliness, while realizing the failure and tragic doom of such an approach. “Youth passes for everyone, but love is another matter,” the heroine drops, as if in passing. She will not forgive the failed lover of betrayal, but at the same time she will still be faithful to love.
- In the story of A.I. Kuprin " Garnet bracelet» fidelity of love reaches unprecedented heights, is the source of life, however, raising the hero above everyday life, destroys him. In the center of the story is a petty official Zheltkov, suffering from an unrequited passion that drives his every act. He is in love with married woman barely aware of its existence. Having accidentally met Vera once, Zheltkov remains true to his high feeling, devoid of everyday vulgarity. He is aware of his lack of rights and the impossibility of reciprocity on the part of his beloved, but he cannot live otherwise. His tragic devotion is an exhaustive proof of sincerity and respect, because he still finds the strength to let go of his beloved woman, yielding, for the sake of her own happiness. Zheltkov is convinced that his loyalty does not oblige the princess to anything, it is only a manifestation of the infinite and selfless love To her.
- In the novel by A.S. Pushkin's "Eugene Onegin" the embodiment of love and fidelity in Pushkin's "encyclopedia of Russian life" becomes an archetypal image in Russian literature - Tatyana Larina. This is an integral nature, sincere in its impulses and feelings. Having fallen in love with Onegin, she writes him a letter, not afraid of being ridiculed and rejected. Eugene, on the other hand, turns out to be untenable in his choice. He is afraid sincere feeling, does not want to become attached, therefore, is incapable of a decisive act and a mature feeling, therefore rejects the heroine. Having survived the rejection, Tatyana, nevertheless, is devoted to her first love to the end, although she marries at the insistence of her parents. When Onegin comes to her again, but already overwhelmed with passion, she refuses him, because she cannot deceive her husband's trust. In the struggle between fidelity to love and fidelity to duty, the former wins: Tatyana rejects Yevgeny, but does not cease to love him, remaining spiritually devoted to him, despite the outward choice in favor of duty.
- Love and fidelity found their place in the work of M. Bulgakov, in the novel "The Master and Margarita". Indeed, this book is largely about love, eternal and perfect, banishing doubts and fear from the soul. The heroes are torn between love and duty, but remain true to their feelings to the end, choosing love as the only possible salvation from the evil of the outside world, full of sin and vices. Margarita leaves the family, refuses former life, full of peace and comfort - does everything and sacrifices everything, if only at the cost of selfless devotion to find happiness. She is ready for any step - even for a contract with Satan and his entourage. If this is the price of love, she is ready to pay it.
- In the novel by L.N. Tolstoy "War and Peace" the path of love and fidelity in storyline each of the many heroes are very confused and ambiguous. Many of the characters in the novel fail to remain faithful to their feelings, sometimes due to their young age and inexperience, sometimes due to mental weakness and inability to forgive. However, the fates of some heroes prove the existence of true and pure love, unstained by hypocrisy and treason. So, taking care of Andrei, wounded on the battlefield, Natasha makes amends for the mistake of her youth and becomes a mature woman capable of sacrificial and devoted affection. Pierre Bezukhov, in love with Natasha, also remains of his opinion, not listening to dirty gossip about escaping with Anatole. They came together after the death of Bolkonsky, being already mature people ready to honestly and steadfastly keep home from the temptations and evil of the surrounding world. Another fateful meeting is the meeting of Nikolai Rostov and Marya Bolkonskaya. And even if their joint happiness did not settle right away, however, thanks to the sincere disinterested love of both, these two loving hearts were able to overcome conditional barriers and build a happy family.
- In love, the character of a person is known: if he is faithful, then he is strong and honest, if not, he is weak, vicious and cowardly. In the novel by F.M. Dostoevsky's "Crime and Punishment", where the characters are tormented by a sense of their own imperfection and insurmountable sinfulness, nevertheless, there was a place for pure and true love, capable of giving consolation and peace of mind. Each of the heroes is sinful, but the desire to atone for the crimes committed pushes them into each other's arms. Rodion Raskolnikov and Sonya Marmeladova together fight the cruelty and injustice of the outside world, defeating them, first of all, in themselves. Therefore, it is not surprising that they, spiritually connected, are true to their love no matter what. Sonya and Rodion accept a joint cross and go to hard labor to heal their souls and start living anew.
- The story of A. Kuprin "Olesya" is another a prime example pure, sublime love. The heroine lives in solitude, so in her feelings she is natural and spontaneous. She is alien to the mores of the village people, alien to outdated traditions and inveterate prejudices. Love for her is freedom, a simple and strong feeling, independent of laws and opinions. Due to her sincerity, the girl is not capable of pretense, therefore she loves Ivan selflessly and sacrificially. However, faced with superstitious anger and hatred of fanatical peasants, the heroine escapes with her mentor and does not want to involve her chosen one in an alliance with the "witch" so as not to bring trouble on him. In her soul, she forever remains faithful to the hero, because in her worldview there are no barriers to love.
- Love transforms human heart, makes him compassionate and vulnerable, but at the same time, incredibly brave and strong. In the novel by A.S. Pushkin's "The Captain's Daughter" outwardly weak and insolvent heroes eventually change and improve each other, showing miracles of loyalty and courage. The love that arose between Pyotr Grinev and Masha Mironova makes a real man and soldier out of a provincial undergrowth, and out of a painful and sensitive captain's daughter, faithful and devoted woman. So, for the first time, Masha shows her character when she refuses Shvabrin's offer. And the refusal to marry Grinev without parental blessing reveals the spiritual nobility of the heroine, who is ready to sacrifice personal happiness for the well-being of a loved one. Love story against the backdrop of significant historical events only enhances the contrast between external circumstances and the true attachment of hearts, which is not afraid of obstacles.
- The theme of love and fidelity is a source of inspiration for literature that raises the question of the relationship between these moral categories in the context of life and creativity. One of the archetypal images eternal love in world literature are the main characters of Shakespeare's tragedy "Romeo and Juliet".
Young people strive for happiness, despite the fact that they belong to warring families. In their love, they are far ahead of the time, full of medieval prejudices. Sincerely believing in the triumph of noble feelings, they defy conventions, proving at the cost own life that love can overcome any obstacle. To give up feeling for them is to commit a betrayal. Consciously choosing death, each of them puts loyalty above life. Readiness for self-sacrifice makes the heroes of the tragedy immortal symbols of ideal, but tragic love. - In the novel by M. A. Sholokhov " Quiet Don» The attitudes and feelings of the characters allow the reader to appreciate the power of passion and devotion. The ambiguity of the circumstances in which the characters find themselves is complicated by the interweaving emotional connections, connecting the characters of the novel and interfering with the acquisition of long-awaited happiness. The relationship of the characters proves that love and loyalty can be different. Aksinya, in her devotion to Gregory, appears as a passionate nature, ready for self-sacrifice. She is able to follow her loved one anywhere, is not afraid of general condemnation, leaves her home, rejecting the opinion of the crowd. Quiet Natalia also loves devotedly, but hopelessly, tormented and tormented by inseparable feelings, while remaining faithful to Gregory, who does not ask her about it. Natalya forgives her husband's indifference, his love for another woman.
- (51 words) Of course, each of us is familiar with Shakespeare's play "Romeo and Juliet" - a story about a real, sincere and uneasy love, which is worth life, because the heroes died to always be together. There was no other meaning in their existence, love seemed to them the only idea human existence. In their pursuit of it, they gained immortality.
- (44 words) Love is not always a perfect fairy tale with happy ending. For an example, it is enough for us to recall Grigory Pechorin from the novel “A Hero of Our Time” by M.Yu. Lermontov. His feelings are selfish, fickle, they hurt. Perhaps not everyone knows how to love, or another, special person is needed for this.
- (30 words) In the work of Antoine de Saint-Exupery " A little prince The theme of love is revealed in the relationship between the protagonist and Rose. The boy took care of the flower, gave him his whole soul, even though he was constantly capricious.
- (50 words) An example of a strong but unrequited love is the familiar story of Tatyana and Onegin from Pushkin's novel in verse "Eugene Onegin". The heroine, having received a refusal, did not change her attitude towards her lover, and even being married, she still had tender feelings for Eugene. True love lives with us throughout our lives.
- (62 words) Love is when you feel like you have wings growing. This feeling is well known to the heroine of the story by I.S. Turgenev "Asya". Like a bird, having flown for the first time above the earth, she irrevocably falls in love with N.N. He also misses his happiness, frightened by the stormy impulse of the girl. However, her "wingedness" captivates him, the hero realizes that he met "the one", but loses her forever because of his promiscuity and cowardice.
- (66 words) Dante Alighieri tells us about love in his work “New Life”. When his beloved father died, the whole city gathered to say goodbye to him. Dante did not enter the house of the deceased, but it was enough for him to hear the women who talked about how much Beatrice was suffering. And Dante suffered as if he had been there and seen Beatrice. Love is also the ability to share grief, to experience it as well as one's own.
- (43 words) Love is so much more than being in love or being attached. tragic story peasant women from the story Poor Lisa» N.M. Karamzin shows us the reverse, cruel side of relationships. Erast betrays her, and the heroine cannot withstand the blow: she throws herself into the river. For her, emotions are more than life.
- (44 words) Love is the ability to wait. In a beautiful poem by K.M. Simonov “Wait for me”, we feel the simplicity and sincerity of true love in every line, although this word is never mentioned there. The repeated word "wait" sounds as if his victory and life depended on it.
- (44 words) Love is the ability to perform any feat in the name of loved one. In the work "Russian Women" N.A. Nekrasov describes the compassion of Russian women, their steadfastness and fidelity. They are not afraid of any hardships. They refused to be fed, rich life and, risking everything, went after their husbands, the Decembrists.
- (42 words) In the story of I.A. Bunin "Natalie", we are presented with a vivid example of the fact that love is something beautiful, but at the same time an incredibly tragic, unidentified "perplexed happiness". Despite his negative experience, Meshchersky still “flies into the flame” of his first feelings again in order to get burned.
Examples from life, cinema and media
- (62 words) I believe that love lives in the comfort of home, in the daily routine, at a family breakfast early in the morning. It is sincere concern for a loved one that can keep its warmth during for long years. I see this, for example, when I visit my grandparents, their love lives in the simplest phrases like: “Grandfather, will you add cream to your porridge?”. Real feelings are expressed in sensitivity and support.
- (63 words) Once in my childhood I had solo performance By figure skating, I was very worried. And when I successfully finished my performance, I noticed that someone threw two plush toy I was so happy! After all, they throw toys to famous skaters in the same way! After a while, I found out that these gifts were from my mother, she wanted me to feel like a real winner.
- (59 words) Love is accepting and appreciating a person for who they are. In Steven Rosenbloom's "Love and Other Drugs" main character fights Parkinson's disease. She wants her young man to be happy and doesn't want to keep him. But Jamie has the strength of mind and is sure that together they will cope with any difficulties, simply because they love each other.
- (37 words) The famous psychologist Erich Fromm wrote that love is an art. As an art, love is subject to the same development as, for example, painting, literature or music. This science can and should be studied, and, indeed, many of us need to learn to love.
- (53 words) On the example of Tom Cross' beautiful musical film La La Land, we see that love shows us our real essence gives us the courage to become who we are. Despite the tragic end, both heroes brought to life everything they dreamed of. But in the pursuit of success, they lost themselves because they neglected the importance of love.
- (50 words) Love is a feeling that elevates us and opens us up the best sides. Psychologist A. Lenglet wrote: “Without the resonance of feelings, the world remains empty and mute - music cannot sound, pictures have no color, memories fade and no longer touch the soul.” Without emotions, there will be nothing that we like so much.
- (37 words) To love someone, you first need to love yourself. Psychologist A. Lenglet believes that such love opens access to oneself, gives rise to a certain attitude. And after you understand and accept yourself, you will learn to love others.
- (47 words) Love is the ability to love the whole world, as my parents taught me. This feeling lives in everything, in every living being, and this is not just an attitude to a certain object, it is attachment to the whole world. If it is aimed at one thing, then it cannot be considered complete and real.
- (49 words) In each of us there is a special place, no matter what similar love. This is, for example, love for the land where you were born. Not a single day has passed in my travels that I have not thought about my homeland. I watch the weather in my city, ask my friends about all the changes and really, really miss it.
- (29 words) Love is an eternal source of inspiration for artists. I read in a magazine that according to statistics, 85% of all songs are written in the name of that same five-letter word.
