Love is an amazing feeling filled with passion, joy and disappointment. Each person writes their own love story. In the world literary piggy bank of romantic creations there are works recognized as the pinnacle of the art of describing love. They can't leave anyone indifferent. The best books about love are read by both pragmatists and incorrigible romantics.

The collection of writings about love is constantly updated with magnificent novels by contemporary authors. To enrich your inner world, to learn to understand yourself, it is useful to read good literature created by talented writers. Beautiful works, in which inner experiences are deeply and subtly described, will teach you to love and become loved.

Among the books that have long acquired the unconditional status of priceless love tomes are the following works:

In the list of literary publications, where there is a lyrical theme, there are the best books about love, created by other talented masters of the pen. Leo Tolstoy ("War and Peace"), Erich Maria Remarque ("Life on Borrowed"), Jane Austen ("Pride and Prejudice") wrote about the high feeling.

Timeless love stories will give everyone the opportunity to experience the most tragic and happy moments together with the characters.

Contemporary art of love fiction

Humanity continues to exist thanks to the great power of love. This feeling gives inspiration to modern masters of prose and poetry.

They wrote many works that worthily continue the traditions of the classics of romanticism.

According to readers, the title of "Best Books about Love" is worthy of such modern works:

Read and fall in love!

On the bookshelf of lovers of lyrical literature, there may be other equally interesting works.

Must-read stories are The Thorn Birds, Doctor Zhivago, Lady Chatterley's Lover. This is not a minute reading for sentimental ladies. Such books give a wonderful, unlike each other story of high love.

Such lyrical works will help to recreate in real life the high feelings described on their pages. Worth reading and putting on your bookshelf.

The secret of the longevity of the best works about love lies in a rich and interesting plot and great emotional richness.

This topic is reflected in the literature of Russian writers and poets of all times. For more than 100 years, people have been turning to the poetry of Alexander Sergeevich Pushkin, finding in it a reflection of their feelings, emotions and experiences. The name of this great poet is associated with a tirade of poems about love and friendship, with the concept of honor and Motherland, images of Onegin and Tatyana, Masha and Grinev arise. Even the most strict reader will be able to discover something close in his works, because they are very multifaceted. Pushkin was a man passionately responding to all living things, a great poet, creator of the Russian word, a man of high and noble qualities. In the variety of lyrical themes that permeate Pushkin's poems, the theme of love is given such a significant place that the poet could be called a singer of this great noble feeling. In all world literature, one cannot find a more striking example of a special predilection for precisely this side of human relations. Obviously, the origins of this feeling lie in the very nature of the poet, sympathetic, able to reveal in each person the best properties of his soul. In 1818, at one of the parties, the poet met the 19-year-old Anna Petrovna Kern. Pushkin admired her radiant beauty and youth. Years later Pushkin met again with Kern, as charming as before. Pushkin presented her with a recently printed chapter of Eugene Onegin, and between the pages he inserted poems written especially for her, in honor of her beauty and youth. Poems dedicated to Anna Petrovna "I remember a wonderful moment" is a famous hymn to a high and bright feeling. This is one of the pinnacles of Pushkin's lyrics. Poems will captivate not only with the purity and passion of the feelings embodied in them, but also with harmony. Love for the poet is a source of life and joy, the poem "I loved you" is a masterpiece of Russian poetry. More than twenty romances have been written on his poems. And let time pass, the name of Pushkin will always live in our memory and awaken the best feelings in us.

With the name of Lermontov, a new era of Russian literature opens. Lermontov's ideals are boundless; he longs not for a simple improvement of life, but for the acquisition of complete bliss, a change in the imperfection of human nature, an absolute resolution of all the contradictions of life. Eternal life - the poet does not agree to anything less. However, love in the works of Lermontov bears a tragic imprint. This was influenced by his only, unrequited love for a friend of his youth - Varenka Lopukhina. He considers love impossible and surrounds himself with a halo of martyrdom, placing himself outside the world and life. Lermontov is sad about the lost happiness "My soul must live in earthly captivity, Not for long. Maybe I won't see more, Your gaze, your sweet gaze, so tender for others."

Lermontov emphasizes his remoteness from everything worldly "Whatever it is earthly, but I will not become a slave." Lermontov understands love as something eternal, the poet does not find solace in routine, fleeting passions, and if he sometimes gets carried away and steps aside, then his lines are not the fruit of a sick fantasy, but just a momentary weakness. "At the feet of others, I did not forget the gaze of your eyes. Loving others, I only suffered from the Love of former days."

Human, earthly love seems to be an obstacle for the poet on his way to higher ideals. In the poem "I will not humiliate myself before you," he writes that inspiration is dearer to him than unnecessary quick passions that can throw the human soul into the abyss. Love in Lermontov's lyrics is fatal. He writes "I was saved by inspiration from petty fuss, but there is no salvation from my soul even in happiness itself." In Lermontov's poems, love is a high, poetic, bright feeling, but always unshared or lost. In the poem "Valerik" the love part, which later became a romance, conveys a bitter feeling of losing connection with her beloved. "It's crazy to wait for love in absentia? In our age, all feelings are only for a period, but I remember you," the poet writes. The theme of betrayal of a beloved, unworthy of a great feeling or not standing the test of time, becomes traditional in Lermontov's literary creations related to his personal experience.

The discord between dream and reality permeates this wonderful feeling; love does not bring joy to Lermontov, he receives only suffering and sorrow: "I am sad because I love you." The poet is worried about the meaning of life. He is sad about the transience of life and wants to have time to do as much as possible in the short time allotted to him on earth. In his poetic reflections, life is hateful to him, but death is terrible.

Considering the theme of love in the works of Russian writers, one cannot but appreciate Bunin's contribution to the poetry of this subject. The theme of love occupies almost the main place in Bunin's work. In this topic, the writer has the opportunity to correlate what happens in the soul of a person with the phenomena of external life, with the requirements of a society that is based on the relationship of purchase and sale and in which wild and dark instincts sometimes reign. Bunin was one of the first in Russian literature to devote his works not only to the spiritual, but also to the bodily side of love, touching with extraordinary tact the most intimate, intimate aspects of human relationships. Bunin was the first to dare to say that bodily passion does not necessarily follow a spiritual impulse, which happens in life and vice versa (as happened with the heroes of the story "Sunstroke"). And no matter what plot moves the writer chooses, love in his works is always a great joy and a great disappointment, a deep and insoluble mystery, it is both spring and autumn in a person’s life.

At different periods of his work, Bunin speaks of love with varying degrees of frankness. In his early works, the characters are open, young and natural. In such works as "In August", "In Autumn", "Dawn All Night", all events are extremely simple, brief and significant. The feelings of the characters are ambivalent, colored with halftones. And although Bunin talks about people who are alien to us in appearance, life, relationships, we immediately recognize and realize in a new way our own premonitions of happiness, expectations of deep spiritual changes. The rapprochement of Bunin's heroes rarely achieves harmony; as soon as it appears, it most often disappears. But the thirst for love burns in their souls. The sad parting with his beloved is completed by dreamy dreams ("In August"): "Through my tears I looked into the distance, and somewhere I dreamed of the southern sultry cities, a blue steppe evening and the image of some woman who merged with the girl I loved ... ". The date is remembered because it testifies to a touch of a genuine feeling: "Whether she was better than the others whom I loved, I do not know, but that night she was incomparable" ("Autumn"). And in the story "Dawn all night" Bunin tells about a premonition of love, about the tenderness that a young girl is ready to give to her future lover. At the same time, youth tends not only to get carried away, but also quickly disappointed. Bunin's works show us this painful gap between dreams and reality for many. "After a night in the garden, full of nightingale whistling and spring trembling, young Tata suddenly hears in her sleep how her fiancé shoots jackdaws, and understands that she does not love this rude and mundane man at all" .

Most of Bunin's early stories tell about the desire for beauty and purity - this remains the main spiritual impulse of his characters. In the 1920s, Bunin wrote about love, as if through the prism of past memories, peering into the departed Russia and those people who are no longer there. This is how we perceive the story "Mitina's Love" (1924). In this story, the writer consistently shows the spiritual development of the hero, leading him from love to collapse. In the story, feelings and life are closely intertwined. Mitya's love for Katya, his hopes, jealousy, vague forebodings seem to be covered with a special sadness. Katya, dreaming of an artistic career, spun in the fake life of the capital and cheated on Mitya. His torment, from which he could not save the connection with another woman - the beautiful but down to earth Alenka, led Mitya to commit suicide. Mitin's insecurity, openness, unpreparedness to face harsh reality, inability to suffer make us feel more acutely the inevitability and inadmissibility of what happened.

In a number of Bunin's stories about love, a love triangle is described: husband - wife - lover ("Ida", "Caucasus", "The most beautiful sun"). In these stories, an atmosphere of inviolability of the established order reigns. Marriage is an insurmountable barrier to achieving happiness. And often what is given to one is ruthlessly taken away from another. In the story "Caucasus", a woman leaves with her lover, knowing for sure that from the moment the train leaves, hours of despair begin for her husband, that he will not stand it and rush after her. He is really looking for her, and not having found her, he guesses about the betrayal and shoots himself. Already here the motif of love as a "sunstroke" appears, which has become a special, ringing note of the "Dark Alleys" cycle.

Memories of youth and the Motherland bring together the cycle of stories "Dark Alleys" with the prose of the 20-30s. These stories are told in the past tense. The author seems to be trying to penetrate into the depths of the subconscious world of his characters. In most stories, the author describes bodily pleasures, beautiful and poetic, born in genuine passion. Even if the first sensual impulse seems frivolous, as in the story "Sunstroke", it still leads to tenderness and self-forgetfulness, and then to true love. This is exactly what happens with the heroes of the stories "Business cards", "Dark alleys", "Late hour", "Tanya", "Rusya", "In a familiar street". The writer writes about ordinary lonely people and their lives. That is why the past, filled with early, strong feelings, seems to be truly golden times, merges with the sounds, smells, colors of nature. As if nature itself leads to the spiritual and physical rapprochement of people who love each other. And nature itself leads them to inevitable separation, and sometimes to death.

The skill of describing everyday details, as well as a sensual description of love, is inherent in all the stories of the cycle, but the story "Clean Monday" written in 1944 appears not just as a story about the great secret of love and a mysterious female soul, but as a kind of cryptogram. Too much in the psychological line of the story and in its landscape and everyday details seems like a ciphered revelation. Accuracy and abundance of details are not just signs of the times, not just nostalgia for forever lost Moscow, but the opposition of East and West in the soul and appearance of the heroine, leaving love and life for a monastery.

MOU secondary school No. 33

ABSTRACT

Philosophy of love in the works

literature XIX – XX centuries"

11 "F" class

student: Balakireva M.A.

teacher: Zakharyeva N.I.

KALININGRAD - 2002

I. Introduction - p.2

II. Main part: - p.4

1. Love lyrics by M.Yu. Lermontov. - p.4

2. "Test by love" on the example of the work of I.A. - p.7

Goncharov "Oblomov".

3. The story of first love in the story of I.S. Turgenev "Asya" - p.9

4. "Every love is a great happiness..." (Concept - p.10

love in the cycle of stories by I.A. Bunin "Dark alleys")

5. Love lyrics S.A. Yesenin. - p.13

6. Philosophy of love in M. Bulgakov's novel - p.15

" Master and Margarita"

III. Conclusion. - p.18

List of used literature

I. INTRODUCTION.

The theme of love in literature has always been relevant. After all, love is the purest and most beautiful feeling that has been sung since ancient times. Love has always excited the imagination of mankind in the same way, whether it is youthful or more mature love. Love doesn't get old. People are not always aware of the true power of love, for if they were aware of it, they would erect the greatest temples and altars to it and make the greatest sacrifices, and yet nothing of the kind is done, although Love deserves it. And therefore, poets and writers have always tried to show its true place in human life, relations between people, finding their own methods inherent in them, and expressing in their works, as a rule, personal views on this phenomenon of human existence. After all, Eros is the most philanthropic god, he helps people and heals ailments, both physical and moral, healing from which would be the greatest happiness for the human race.

There is an idea that early Russian literature does not know such beautiful images of love as the literature of Western Europe. We have nothing like the love of troubadours, the love of Tristan and Isolde, Dante and Beatrice, Romeo and Juliet ... and the defense of the Motherland, the theme of Yaroslavna's love is clearly visible. The reasons for the later "explosion" of the love theme in Russian literature should be sought not in the shortcomings of Russian literature, but in our history, mentality, in that special path of development of Russia, which fell to her as a state half European, half Asian, located on the border of two worlds. - Asia and Europe.

Perhaps in Russia there really were no such rich traditions in the development of a love story as there were in Western Europe. Meanwhile, Russian literature of the 19th century provided a deep insight into the phenomenon of love. In the works of such writers as Lermontov and Goncharov, Turgenev and Bunin, Yesenin and Bulgakov and many others, the features of Russian Eros, the Russian attitude to the eternal and sublime theme - love, have developed. Love is the complete elimination of egoism, “rearrangement of the center of our life”, “transfer of our interest from ourselves to another”. This is the tremendous moral power of love, which abolishes selfishness, and

regenerating personality in a new, moral capacity. In love, the image of God is reborn, that ideal beginning, which is connected with the image of the eternal Femininity. The embodiment in the individual life of this beginning creates those glimpses of immeasurable bliss, that “breath of unearthly joy”, which is familiar to every person who has ever experienced love. In love, a person finds himself, his personality. A single, true individuality is reborn in it.

With volcanic energy, the theme of love breaks into Russian literature of the late 19th and early 20th centuries. Poets and writers, philosophers, journalists, critics write about love.

For several decades in Russia, more has been written about love than for several centuries. Moreover, this literature is distinguished by intensive searches and originality of thinking.

It is impossible within the framework of the abstract to highlight the entire treasury of Russian love literature, just as it is impossible to give preference to Pushkin or Lermontov, Tolstoy or Turgenev, therefore the choice of writers and poets in my essay, on the example of whose work I want to try to reveal the chosen topic, is rather personal. Each of the word artists I chose saw the problem of love in their own way, and the diversity of their views allows us to reveal the chosen topic as objectively as possible.

II. MAIN PART

1. Love lyrics by M.Yu. Lermontov.

I can't define love

But this passion is the strongest! - be in love

Need me; and i loved

With all the tension of spiritual forces.

These lines from the poem "1831 - June 11th" are like an epigraph to the lyrics of "strongest passions" and deep suffering. And, although Lermontov entered Russian poetry as the direct heir of Pushkin, this eternal theme, the theme of love, sounded completely different for him. “Pushkin is the daylight, Lermontov is the night light of our poetry,” wrote Merezhkovsky. If for Pushkin love is a source of happiness, then for Lermontov it is inseparable from sadness. In Mikhail Yuryevich, the motives of loneliness, the opposition of the rebel hero to the “insensitive crowd” also permeate love poems; in his artistic world, a high feeling is always tragic.

Only occasionally in the poems of the young poet, the dream of love merged with the dream of happiness:

You would reconcile me

With people and violent passions, -

he wrote, referring to N.F.I. - Natalya Fedorovna Ivanova, with whom he was passionately and hopelessly in love. But this is just one, not repeated moment. The whole cycle of poems dedicated to Ivanova is a story of unrequited and offended feelings:

I'm not worthy, maybe

your love; I'm not to judge,

But you cheated

My hopes and dreams

And I will say that you

Acted unfairly.

Before us are like the pages of a diary, which captures all the shades of the experience: from flashing insane hope to bitter disappointment:

And a crazy verse, a farewell verse

I threw it into your album for you,

Like the only trace, sad,

Which I will leave here.

The lyrical hero is destined to remain lonely and misunderstood, but this only strengthens in him the consciousness of his chosenness, destined for a different, higher freedom and a different happiness - the happiness of creating. The final poem of the cycle - one of Lermontov's most beautiful - is not only parting with a woman, it is also a liberation from a humiliating and enslaving passion:

You forgot: I am freedom

I will not give up for delusion ...

And the whole world hated

To love you more...

This typically romantic device determines the style not only of one poem, built on contrasts and oppositions, but of the entire poet's lyrics as a whole. And next to the image of the "changed angel" under his pen, another female image appears, sublime and ideal:

I saw your smile

She touched my heart...

These poems are dedicated to Varvara Lopukhina, for whom the poet's love did not fade until the end of his days. The captivating appearance of this gentle, spiritualized woman appears before us in the painting and in the poetry of Mikhail Yuryevich:

All her movements

Smiles, speeches and features

So full of life, inspiration.

So full of wonderful simplicity.

And in the poems dedicated to Varvara Alexandrovna, the same motif of separation, the fatal impossibility of happiness, sounds:

We are accidentally brought together by fate,

We found ourselves in one another,

And the soul made friends with the soul,

Though the way does not end them together!

Why is the fate of those who love so tragic? It is known that Lopukhina responded to Lermontov's feelings, there were no insurmountable barriers between them. The answer, probably, lies in the fact that Lermontov's "novel in verse" was not a mirror image of his life. The poet wrote about the tragic impossibility of happiness in this cruel world, "among the icy, among the merciless light." Before us again there is a romantic contrast between a high ideal and a low reality in which it cannot be realized. Therefore, Lermontov is so attracted by situations that are fraught with something fatal. It may be a feeling that rebelled against the power of "secular chains":

I'm sad because I love you

And I know: your blooming youth

The insidious persecution will not spare the rumor.

This may be a disastrous passion, depicted in such poems as "Gifts of the Terek", "Sea Princess".

Pondering these verses, it is impossible not to recall the famous "Sail":

Alas! he does not seek happiness ...

This line is echoed by others:

What is the life of a poet without suffering?

And what is the ocean without a storm?

Lermontov's hero seems to be running from serenity, from peace, behind which for him is the dream of the soul, fading away and the poetic gift itself.

No, in the poetic world of Lermontov one cannot find happy love in its usual sense. Soul kinship arises here outside of "anything earthly," even outside the usual laws of time and space.

Recall the amazing poem "Dream". It cannot even be attributed to love lyrics, but it is precisely this that helps to understand what love is for Lermontov's hero. For him, this is a touch to eternity, and not the path to earthly happiness. Such is love in the world that is called the poetry of Mikhail Yuryevich Lermontov.

Analyzing the work of M.Yu. Lermontov, we can conclude that his love is eternal dissatisfaction, the desire for something sublime, unearthly. Having met love in life, and mutual love, the poet is not satisfied with it, trying to elevate the flared feeling into the world of higher spiritual suffering and experiences. He wants to receive from love what is obviously unattainable, and as a result, this brings him eternal suffering, sweet flour. These sublime feelings give the poet strength and inspire him to new creative ups.

2. "Test of love" by example

works by I.A. Goncharov "Oblomov"

An important place in the novel "Oblomov" is occupied by the theme of love. Love, according to Goncharov, is one of the “main forces” of progress; the world is driven by love.

The main storyline in the novel is the relationship between Oblomov and Olga Ilyinskaya. Here Goncharov follows the path that had become traditional in Russian literature by that time: checking the value of a person through his intimate feelings, his passions. The writer does not deviate from the then most popular resolution of such a situation. Goncharov shows how through the moral weakness of a person who is unable to respond to a strong feeling of love, his social failure is revealed.

The spiritual world of Olga Ilyinskaya is characterized by harmony of mind, heart, will. The impossibility for Oblomov to understand and accept

this high moral standard of life turns into an inexorable sentence to him as a person. There is a coincidence in the text of the novel, which turns out to be downright symbolic. On the same page where the name of Olga Ilyinskaya is first pronounced, the word "Oblomovism" also appears for the first time. However, it is not immediately possible to see a special meaning in this coincidence. In the novel, Ilya Ilyich’s suddenly flared up feeling of love, fortunately, mutual, is poeticized in such a way that hope may arise: Oblomov will be successful, in the words of Chernyshevsky, “Hamlet education” and will be reborn as a person to the fullest. The inner life of the hero began to move. Love discovered in Oblomov’s nature the properties of spontaneity, which, in turn, resulted in a strong spiritual impulse, a passion that threw him towards a beautiful girl, and two people “did not lie either to themselves or to each other: they betrayed what the heart said, and his voice passed through the imagination.

Together with a feeling of love for Olga, Oblomov awakens an active interest in spiritual life, in art, in the mental demands of the time. The hero is transformed so much that Olga, becoming more and more carried away by Ilya Ilyich, begins to believe in his final spiritual rebirth, and then in the possibility of their joint, happy life.

Goncharov writes that his beloved heroine “walked the simple natural path of life... she did not deviate from the natural manifestation of thought, feeling, will... No affectation, no coquetry, no tinsel, no intent!” This young and pure girl is full of noble thoughts in relation to Oblomov: “She will show him the goal, make him fall in love again with everything that he stopped loving ... He will live, act, bless life and her. To bring a person back to life - how much glory to the doctor when he saves a hopeless patient. And save the morally perishing mind, soul? And how much of her spiritual strength and feelings Olga gave in order to achieve this lofty moral goal. But, even love here was powerless.

Ilya Ilyich is far from the naturalness of Olga, free from many worldly considerations, extraneous and essentially hostile to the feeling of love. It soon turned out that Oblomov's feeling of love for Olga was a short-term outbreak. Illusions on this score are quickly dissipated by Oblomov. The need to make decisions, marriage - all this frightens our hero so much that he is in a hurry to convince Olga: “... you were mistaken,

in front of you is not the one you were waiting for, whom you dreamed of. The gap between Olga and Oblomov is natural: their natures are too dissimilar. Olga's last conversation with Oblomov reveals the huge difference between them. “I found out,” says Olga, “only recently that I loved in you what I wanted to be in you, what Stoltz pointed out to me, what we invented with him. I loved the future Oblomov. You are meek, honest, Ilya; you are gentle ... you are ready to coo all your life under the roof ... but I am not like that: this is not enough for me.

Happiness was short-lived. More expensive than romantic dates was for Oblomov the thirst for a serene, sleepy state. "A man sleeps serenely" - this is how Ilya Ilyich sees the ideal of existence.

The quiet fading of emotions, interests, aspirations, and even life itself, that's all that Oblomov had left after a bright flash of feelings. Even love could not bring him out of hibernation, change his life. But still, this feeling could, albeit for a short time, awaken Oblomov’s consciousness, made him “come to life” and feel an interest in life, but, alas, only for a short time! According to Goncharov, love is a beautiful, vibrant feeling, but love alone was not enough to change the life of a person like Oblomov.

3. The story of first love in the story

I.S. Turgenev "Asya"

The story of Ivan Sergeevich Turgenev "Asya" is a work about love, which, according to the writer, is "stronger than death and the fear of death" and which "holds and moves life." Asya's upbringing has roots in Russian traditions. She dreams of going "somewhere, to prayer, to a difficult feat." The image of Asya is very poetic. It is the romantic dissatisfaction of the image of Asya, the seal of mystery that lies on her character and behavior, that gives her attractiveness and charm.

After reading this story, Nekrasov wrote to Turgenev: “... she is so lovely. Spiritual youth emanates from her, all of her is pure gold of life. Without exaggeration, this beautiful setting fell into place with a poetic plot, and something unprecedented in beauty and purity came out with us.

Asya could be called a story about first love. This love ended sadly for Asya.

Turgenev was fascinated by the topic of how important it is not to pass by your happiness. The author shows how a beautiful love was born in a seventeen-year-old girl, proud, sincere and passionate. Shows how everything ended in one moment.

Asya doubts that one can fall in love with her, whether she is worthy of such a beautiful young man. She strives to suppress the nascent feeling in herself. She worries that she loves her dear brother less than a man whom she has only seen a few times. But Mr. N.N. introduced himself to the girl as an extraordinary person in the romantic setting in which they met. This is not a person of active action, but a contemplative. Of course, he is not a hero, but he managed to touch Asya's heart. With pleasure, this cheerful, carefree person begins to guess that Asya loves him. “I didn’t think about tomorrow; I felt good." “Her love both pleased and embarrassed me ... The inevitability of a quick, almost instant decision tormented me ...” And he comes to the conclusion: “To marry a seventeen-year-old girl, with her disposition, how is it possible!” Believing that the future is infinite, he is not going to decide fate now. He pushes Asya away, who, in his opinion, overtook the natural course of events, most likely would not have led to a happy ending. Only many years later, the hero realized how important the meeting with Asya was in his life.

Turgenev explains the reason for the failed happiness by the lack of will of a nobleman who at the decisive moment gives in to love. Postponing a decision to an indefinite future is a sign of mental weakness. A person should feel a sense of responsibility for himself and those around him every minute of his life.

4. "All love is a great happiness..."

(The concept of love in the story cycle

I.A. Bunin "Dark alleys")

I.A. Bunin has a very peculiar view of love relationships that distinguishes him from many other writers of that time.

In Russian classical literature of that time, the theme of love has always occupied an important place, and preference was given to spiritual, "platonic" love.

before sensuality, carnal, physical passion, which was often debunked. The purity of Turgenev's women has become a household word. Russian literature is predominantly the literature of "first love".

The image of love in Bunin's work is a special synthesis of spirit and flesh. According to Bunin, the spirit cannot be comprehended without knowing the flesh. I. Bunin defended in his works a pure attitude towards the carnal and bodily. He did not have the concept of female sin, as in Anna Karenina, War and Peace, Kreutzer Sonata by L.N. Tolstoy, there was no wary, hostile attitude towards the feminine, characteristic of N.V. Gogol, but there was no vulgarization of love. His love is an earthly joy, a mysterious attraction of one sex to another.

An encyclopedia of love dramas can be called "Dark Alleys" - a book of stories about love. “She speaks of the tragic and of many tender and beautiful things - I think that this is the best and most original thing that I wrote in my life ...” Bunin admitted to Teleshov in 1947.

When describing risky details related to the body, when the author must be impartial in order not to go

the fragile line that separates art from pornography, Bunin, on the contrary, worries too much - to a spasm in the throat, to a passionate tremor: “... it just darkened in her eyes at the sight of her pinkish body with a tan on her shiny shoulders ... her eyes turned black and expanded even more, the lips parted feverishly ”(“ Galya Ganskaya. ”For Bunin, everything connected with sex is pure and significant, everything is shrouded in mystery and even holiness.

As a rule, the happiness of love in "Dark Alleys" is followed by parting or death. Heroes revel in intimacy, but

it leads to separation, death, murder. Happiness cannot be eternal. Natalie "died on Lake Geneva in a premature birth". Galya Ganskaya was poisoned. In the story “Dark Alleys”, the master Nikolai Alekseevich abandons the peasant girl Nadezhda - for him this story is vulgar and ordinary, and she loved him “all century”. In the story "Rusya", the lovers are separated by the hysterical mother of Rusya.

Bunin allows his heroes only to taste the forbidden fruit, to enjoy it - and then deprives them of happiness, hopes, joys, even life. The hero of the story "Natalie" loved two at once, but did not find family happiness with any of them. In the story "Heinrich" - an abundance of female images for every taste. But the hero remains alone and free from the "wives of men."

Bunin's love does not go into a family channel, it is not resolved by a happy marriage. Bunin deprives his heroes of eternal happiness, deprives them because they get used to it, and the habit leads to the loss of love. Love out of habit cannot be better than lightning-fast love, but sincere. The hero of the story "Dark Alleys" cannot bind himself by family ties with the peasant woman Nadezhda, but by marrying another woman of his circle, he does not find family happiness. The wife cheated, the son is a wast and a scoundrel, the family itself turned out to be "the most ordinary vulgar story." However, despite the short duration, love still remains eternal: it is eternal in the memory of the hero precisely because it is fleeting in life.

A distinctive feature of love in the image of Bunin is a combination of seemingly incompatible things. It is no coincidence that Bunin once wrote in his diary: “And again, again, such indescribably - sweet sadness from that eternal deception of another spring, hopes and love for the whole world, which you want with tears

gratitude to kiss the earth. Lord, Lord, why do you torment us like this.

The strange connection between love and death is constantly emphasized by Bunin, and therefore it is no coincidence that the title of the collection "Dark Alleys" here does not mean "shady" at all - these are dark, tragic, intricate labyrinths of love.

Any true love is a great happiness, even if it ends in separation, death, tragedy. To this conclusion, albeit late, but many Bunin's heroes come, who have lost, overlooked or destroyed their love themselves. In this late repentance, late spiritual resurrection, enlightenment of heroes and

there is that all-cleansing melody that speaks of the imperfection of people who have not yet learned to live, recognize and value real feelings, and of the imperfection of life itself, social conditions, the environment, circumstances that often impede truly human relationships, and most importantly - about those high emotions that leave an unfading trace of spiritual beauty, generosity, devotion and purity.

5. Love lyrics by S. Yesenin

S. Yesenin's love lyrics are painted in pure and gentle tones. The feeling of love is perceived by the poet as a rebirth, as the awakening of all the most beautiful in a person. Yesenin shows himself to be a brilliant master of disclosure, using Pushkin's term "the physical movement of passions." Through the smallest details, he draws a complex range of feelings. Only two lines:

Anyway - your eyes are like the sea,

Blue swaying fire

Just to gently touch the hand

And your hair color in autumn

And in each of them - the uniqueness of feeling. The fullness and true poetry of experiences, the great beauty of love.

The cycle "Love of a Hooligan" is compositionally built as a novel about a hero in love - from the beginning of a feeling to its end, from "the first time I sang about love" to "did I fall out of love with you yesterday?"

If in the book “Poems of a brawler” love is “infection”, “plague”, with a cynical word, with a defiant “Our life is a sheet and a bed, our life is a kiss and into the pool”, then in “Love of a bully” the image of love is bright, and therefore, the lyrical hero declares: “For the first time I refuse to scandal”; “I didn’t like drinking and dancing, and losing my life without looking back”; "That I say goodbye to hooliganism." This love is so pure that the beloved is associated with the iconic face: “Your iconic and strict face hangs in chapels in ryazan”.

“Love of a bully” is the subtlest psychological lyrics, in which the poet’s autumn moods are in tune with peace of mind, which is becoming more and more insistent the main theme of his

late poetry. Love is a rare theme in Yesenin's early work. Now, in his late lyrics, the concept of grace-filled love is emerging, not burdensome, giving joy and quiet sadness. Yesenin's love gives pleasure, and Pushkin's tradition also affected this. Both in “The Love of a Hooligan” and in subsequent poems on this topic, there is practically no love pessimism, love drama, love reflection, characteristic of the image of love in the lyrics.

M. Lermontov, A. Akhmatova, A. Blok, V. Mayakovsky

The next cycle of love poems is "Persian

motives”, in which S. Yesenin reveals the art of love. Here Yesenin mentions Saadi, who created the image of a Turkish woman who overshadowed the beauty of everyone and everything, and the image of his breathtaking, hypertrophied love: he is smitten with her eyes, he "bleeds from the heart", he "is exhausted from jealousy", and sherbet without a loved one became bitter poison, he retires into the thicket of gardens, possessed by the “madness of love”, and his peri is “the breath of early spring”, this is “musk and amber”, her look is drunken with crimson wine, and “the light that illuminates the whole world dims before her” .

Yesenin is not focused on love suffering, on

love self-destruction, he writes poems about the ability to love, about guessing desires, about the attributes of love: from gifts to his beloved (“I will give a shawl from Khorossan / And I will give a Shiraz carpet”), from affectionate speeches (“How to tell me for the beautiful Lala / tender Persian “I love”?”; how to say to me for the beautiful Lala / Affectionate word “kiss”?”; “How to tell her that she is “mine”?” However, the Persian harmony of love in the artistic imagination of the poet is only temporary.

In 1925, the Don Juan theme was revealed in Yesenin's love lyrics. “Don't look at me reproachfully...”, “What a night! I can’t”, “You don’t love me, don’t feel sorry for me ...”, “Maybe it’s too late, maybe too early ...”, “Who am I? What am I? Only a dreamer...” – all these poems are devoted to “love of inexpensive”, “tempered connection”, mistaken for love of “sensual trembling”, frivolous women who are loved “by the way”. This love is without suffering, it is a pleasure, it does not require sacrifices from the poet. This love is pacifying, it corresponds to the mood of the poet for peace of mind. The lyrical hero of Yesenin, keeping the memory of true love "in the distant, dear", now notices in himself this love lightness, and the desire for eternal love happiness: "I began to resemble Don Juan, like a real windy poet"; "And from that

I have many knees, so that happiness smiles forever, not resigning itself to the bitterness of betrayal.

The philosophy of "I accept everything" helps the lyrical hero to resolve the classic love triangle. In the verses “Do not twist your smile, pulling your hands ...”, “What a night! I can't...", "Don't look at me reproachfully..." reveals the theme of a woman's unrequited love for him. She can't give him love, nor the "weasel-filled lie" given by another with "dove" eyes. But,

choosing the path of consent, striving for wholeness and peace, he succumbs to someone else's feeling: "But still caress and hug, in the sly passion of a kiss, may my heart dream forever of May, and the one that I love forever."

Yesenin's lyrical hero is not in the mood for reflection, duality, self-flagellation. He strives for harmony, for wholeness. The hero himself suppresses any reason for suffering - in this case, because of the "bitterness of betrayal."

Yesenin's attitude to love was not constant, it changed with the poet with age. At first, it is joy, delight, he sees only pleasure in love. Then love becomes more passionate, bringing both burning joy and burning suffering. Later, in Yesenin's work, a philosophical understanding of life through love is observed.

6. Philosophy of love in the novel by M.A. Bulgakov

" Master and Margarita"

A special place in Russian literature is occupied by M. Bulgakov's novel "The Master and Margarita", which can be called the book of his life, the fantastic-philosophical, historical-allegorical novel "The Master and Margarita" provides great opportunities for understanding the views and searches of the author.

One of the main lines of the novel is connected with the "eternal

love” of the Master and Margarita, “thousands of people walked along Tverskaya, but I guarantee you that she saw me alone and looked not only anxiously, but even as if painfully. And I was struck not so much by beauty as by an extraordinary, unseen loneliness in the eyes! This is how the Master remembered his beloved.

It must have been some kind of incomprehensible light burning in their eyes, otherwise you can’t explain the love that “jumped out” in front of them, “like a murderer jumping out of the ground in an alley”, and struck them both at once.

One could expect that, since such love broke out, it would be passionate, stormy, burning both hearts to the ground, but she turned out to have a peaceful domestic character. Margarita came to the Master’s basement apartment, “put on an apron ... lit a kerosene stove and cooked breakfast ... when there were May thunderstorms and water rolled noisily in the gateway past the blinded windows ... the lovers melted the stove and baked potatoes in it ... In the basement laughter was heard, the trees in the garden threw off their broken branches and white brushes after the rain. When the thunderstorms ended and the stuffy summer came, the long-awaited and beloved roses appeared in the vase ... ".

This is how carefully, chastely, peacefully the story of this love is being told. Neither the joyless black days when the Master's novel was crushed by critics and the life of lovers stopped, nor the serious illness of the Master, nor his sudden disappearance for many months, did not extinguish it. Margarita could not part with him even for a minute, even when he was gone and had to think that he would no longer be at all. She could only mentally belittle him so that he would let her go free, "let her breathe the air, would leave her memory."

The love of the Master and Margarita will be eternal only because one of them will fight for the feelings of both. Margarita will sacrifice herself for the sake of love. The master will get tired and afraid of such

a powerful feeling that 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 refuse 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.

You read the pages dedicated to Margarita, and you are tempted to call them Bulgakov's poem to the glory of his own beloved, Elena Sergeevna, with whom he was ready to commit, as he wrote about that on the copy of the collection Diaboliad presented to her, and really made "his last flight." Perhaps, in part, the way it is - a poem. In all the adventures of Margarita - both during the flight and visiting Woland - she is accompanied by the loving look of the author, in which there is both tender affection and pride in her - for her truly royal dignity,

generosity, tact, - and gratitude for the Master, whom she, by the power of her love, saved from madness and returned from non-existence.

Of course, her role is not limited to this. Both love and the whole story of the Master and Margarita are the main line of the novel. All events and phenomena that fill actions converge to it - life, politics, culture, and philosophy. Everything is reflected in the clear waters of this stream of love.

Bulgakov did not invent a happy ending in the novel. And only for the Master and Margarita did the author reserve a happy ending in his own way: eternal rest awaits them.

Bulgakov sees in love a force for which a person can overcome any obstacles and difficulties, as well as achieve eternal peace and happiness.

CONCLUSION

Summing up, I would like to say that Russian literature of the 19th-20th centuries constantly turned to the theme of love, trying to understand its philosophical and moral meaning. In this tradition, eros was understood broadly and ambiguously, first of all, as a path to creativity, to the search for spirituality, to moral perfection and moral responsiveness. The concept of eros presupposes the unity of philosophy and the concept of love, and therefore it is so closely connected with the world of literary images.

On the example of works of literature of the 19th - 20th centuries considered in the abstract, I tried to reveal the theme of the philosophy of love, using the view of different poets and writers on it.

So, in the lyrics of M.Yu. Lermontov's heroes experience an exalted feeling of love, which takes them to the world of unearthly passions. Such love brings out the best in people, makes them nobler and purer, elevates them and inspires them to create beauty.

And the result of such a test is a state of sadness, tragedy. The author shows that even such a beautiful, sublime feeling of love could not fully awaken the consciousness of a “morally” perishing person.

In the story "Asya" I.S. Turgenev develops the theme of the tragic meaning of love. The author shows how important it is not to pass by your happiness. Turgenev explains the reason for the failed happiness of the heroes by the lack of will of the nobleman, who at the decisive moment gives in to love, and this indicates the spiritual weakness of the hero.

Love in the work of I.A. Bunin manifests itself in the heroes as a deep, morally pure and wonderful feeling. The author shows that true love is a great happiness, even if it ends in separation, death or tragedy.

In the novel "The Master and Margarita" M. Bulgakov shows that a loving person is capable of sacrifice, of death for the sake of peace and happiness of a loved one. And yet he remains happy.

Times have changed, but the problems remain the same: “what is the meaning of life”, “what is good and what is evil”, “what is love and what is its meaning”. I think that the theme of love will always sound. I agree with the opinion of the writers and poets I have chosen that love can be different, happy and unhappy. But this feeling is deep, infinitely tender. Love makes a person nobler, purer, better, softer and more merciful. It brings out the best in everyone, makes life more beautiful.

Where there is no love, there is no soul.

I would like to finish my work with the words

Z.N. Gippius: “Love is one, true love carries immortality, an eternal beginning; love is life itself; you can get carried away, change, fall in love again, but true love is always the same!"

LIST OF USED LITERATURE

1. A.A. Ivin "Philosophy of Love", Politizdat, M. 1990

2. N.M. Velkov "Russian Eros, or the Philosophy of Love in Russia", "Enlightenment", M. 1991

The theme of love in the works of Russian writers has existed for centuries. And each author has his own point of view on the definition of the word love. In this essay, I will try to consider the different points of view of the authors on the stories of Chekhov "On Love", Bunin's "Caucasus" and Kupin's "Lilac Bush".
Anton Pavlovich Chekhov's story "About Love" is the final story in the "small trilogy". These stories are united by one theme - "case existence". But it is in the story "About Love" that Chekhov talks about the most terrible case. Alekhin talks about the history of his relationship with Anna Luganovich. Lovers hide their feelings from each other, fearing misunderstanding and non-reciprocity. Hiding these feelings, the heroes turn love into torment. Thus, Chekhov shows that no matter what the feelings are, they should not be hidden.
The story of Nikolai Alekseevich Bunin "The Caucasus" marked the beginning of the cycle of short stories "Dark Alleys". Bunin believes that love should be bright, swift, fast, but not long, measured and strong. In the story "Caucasus" Bunin shows the story of two lovers, but the main problem with them is that the heroine of the story is married. And she begins to understand that her husband is suspicious of something. And in order to be alone and take a break from the eternal lies and wearing a mask, the lovers decide to run away to the sea. With the help of antitheses, the author shows us the feelings of the characters in the city and on the seashore. So, for example, in Moscow “cold rains fell”, and in the south “it seemed that there would never be an end to this peace, this beauty.” And the story ends with the fact that the husband nevertheless recognized the betrayal, and, unable to bear it, he "shot himself in the whiskey from two revolvers." Leaving lovers a chance to live in happiness
But the opinion of Alexander Ivanovich Kuprin about the concept of love in the story "The Lilac Bush" is the opposite of Chekhov's opinion. Kuprin believes that love should be real and sacrificial. The heroine of the story is a devoted woman who tries in every possible way to empathize with her husband. She gives herself to her husband and love completely. When the heroine saw her husband upset, feeling desperate, she tried her best to find out what had happened and console her husband. “She learned to meet every failure with a clear, almost cheerful face,” it was this quality that helped Nikolai to lose heart and correct his mistake. Thus, the author shows that love is the main happiness.
I can't agree with any of the authors' opinions 100%. I believe that love should not be too sacrificial, but also should not be short and too swift. I believe that love should be moderately sacrificial and moderately swift.

MOU secondary school No. 33

ABSTRACT

Philosophy of love in the works

literature XIX – XX centuries"

11 "F" class

student: Balakireva M.A.

teacher: Zakharyeva N.I.

KALININGRAD - 2002

I. Introduction - p.2

II. Main part: - p.4

1. Love lyrics by M.Yu. Lermontov. - p.4

2. "Test by love" on the example of the work of I.A. - p.7

Goncharov "Oblomov".

3. The story of first love in the story of I.S. Turgenev "Asya" - p.9

4. "Every love is a great happiness..." (Concept - p.10

love in the cycle of stories by I.A. Bunin "Dark alleys")

5. Love lyrics S.A. Yesenin. - p.13

6. Philosophy of love in M. Bulgakov's novel - p.15

" Master and Margarita"

III. Conclusion. - p.18

List of used literature

I. INTRODUCTION.

The theme of love in literature has always been relevant. After all, love is the purest and most beautiful feeling that has been sung since ancient times. Love has always excited the imagination of mankind in the same way, whether it is youthful or more mature love. Love doesn't get old. People are not always aware of the true power of love, for if they were aware of it, they would erect the greatest temples and altars to it and make the greatest sacrifices, and yet nothing of the kind is done, although Love deserves it. And therefore, poets and writers have always tried to show its true place in human life, relations between people, finding their own methods inherent in them, and expressing in their works, as a rule, personal views on this phenomenon of human existence. After all, Eros is the most philanthropic god, he helps people and heals ailments, both physical and moral, healing from which would be the greatest happiness for the human race.

There is an idea that early Russian literature does not know such beautiful images of love as the literature of Western Europe. We have nothing like the love of troubadours, the love of Tristan and Isolde, Dante and Beatrice, Romeo and Juliet ... and the defense of the Motherland, the theme of Yaroslavna's love is clearly visible. The reasons for the later "explosion" of the love theme in Russian literature should be sought not in the shortcomings of Russian literature, but in our history, mentality, in that special path of development of Russia, which fell to her as a state half European, half Asian, located on the border of two worlds. - Asia and Europe.

Perhaps in Russia there really were no such rich traditions in the development of a love story as there were in Western Europe. Meanwhile, Russian literature of the 19th century provided a deep insight into the phenomenon of love. In the works of such writers as Lermontov and Goncharov, Turgenev and Bunin, Yesenin and Bulgakov and many others, the features of Russian Eros, the Russian attitude to the eternal and sublime theme - love, have developed. Love is the complete elimination of egoism, “rearrangement of the center of our life”, “transfer of our interest from ourselves to another”. This is the tremendous moral power of love, which abolishes selfishness, and

regenerating personality in a new, moral capacity. In love, the image of God is reborn, that ideal beginning, which is connected with the image of the eternal Femininity. The embodiment in the individual life of this beginning creates those glimpses of immeasurable bliss, that “breath of unearthly joy”, which is familiar to every person who has ever experienced love. In love, a person finds himself, his personality. A single, true individuality is reborn in it.

With volcanic energy, the theme of love breaks into Russian literature of the late 19th and early 20th centuries. Poets and writers, philosophers, journalists, critics write about love.

For several decades in Russia, more has been written about love than for several centuries. Moreover, this literature is distinguished by intensive searches and originality of thinking.

It is impossible within the framework of the abstract to highlight the entire treasury of Russian love literature, just as it is impossible to give preference to Pushkin or Lermontov, Tolstoy or Turgenev, therefore the choice of writers and poets in my essay, on the example of whose work I want to try to reveal the chosen topic, is rather personal. Each of the word artists I chose saw the problem of love in their own way, and the diversity of their views allows us to reveal the chosen topic as objectively as possible.

II. MAIN PART

1. Love lyrics by M.Yu. Lermontov.

I can't define love

But this passion is the strongest! - be in love

Need me; and i loved

With all the tension of spiritual forces.

These lines from the poem "1831 - June 11th" are like an epigraph to the lyrics of "strongest passions" and deep suffering. And, although Lermontov entered Russian poetry as the direct heir of Pushkin, this eternal theme, the theme of love, sounded completely different for him. “Pushkin is the daylight, Lermontov is the night light of our poetry,” wrote Merezhkovsky. If for Pushkin love is a source of happiness, then for Lermontov it is inseparable from sadness. In Mikhail Yuryevich, the motives of loneliness, the opposition of the rebel hero to the “insensitive crowd” also permeate love poems; in his artistic world, a high feeling is always tragic.

Only occasionally in the poems of the young poet, the dream of love merged with the dream of happiness:

You would reconcile me

With people and violent passions, -

he wrote, referring to N.F.I. - Natalya Fedorovna Ivanova, with whom he was passionately and hopelessly in love. But this is just one, not repeated moment. The whole cycle of poems dedicated to Ivanova is a story of unrequited and offended feelings:

I'm not worthy, maybe

your love; I'm not to judge,

But you cheated

My hopes and dreams

And I will say that you

Acted unfairly.

Before us are like the pages of a diary, which captures all the shades of the experience: from flashing insane hope to bitter disappointment:

And a crazy verse, a farewell verse

I threw it into your album for you,

Like the only trace, sad,

Which I will leave here.

The lyrical hero is destined to remain lonely and misunderstood, but this only strengthens in him the consciousness of his chosenness, destined for a different, higher freedom and a different happiness - the happiness of creating. The final poem of the cycle - one of Lermontov's most beautiful - is not only parting with a woman, it is also a liberation from a humiliating and enslaving passion:

You forgot: I am freedom

I will not give up for delusion ...

There is a contrast between the high feeling of the hero and the “insidious betrayal” of the heroine in the very structure of the verse, saturated with antitheses, so characteristic of romantic poetry:

And the whole world hated

To love you more...

This typically romantic device determines the style not only of one poem, built on contrasts and oppositions, but of the entire poet's lyrics as a whole. And next to the image of the "changed angel" under his pen, another female image appears, sublime and ideal:

I saw your smile

She touched my heart...

These poems are dedicated to Varvara Lopukhina, for whom the poet's love did not fade until the end of his days. The captivating appearance of this gentle, spiritualized woman appears before us in the painting and in the poetry of Mikhail Yuryevich:

All her movements

Smiles, speeches and features

So full of life, inspiration.

So full of wonderful simplicity.

And in the poems dedicated to Varvara Alexandrovna, the same motif of separation, the fatal impossibility of happiness, sounds:

We are accidentally brought together by fate,

We found ourselves in one another,

And the soul made friends with the soul,

Though the way does not end them together!

Why is the fate of those who love so tragic? It is known that Lopukhina responded to Lermontov's feelings, there were no insurmountable barriers between them. The answer, probably, lies in the fact that Lermontov's "novel in verse" was not a mirror image of his life. The poet wrote about the tragic impossibility of happiness in this cruel world, "among the icy, among the merciless light." Before us again there is a romantic contrast between a high ideal and a low reality in which it cannot be realized. Therefore, Lermontov is so attracted by situations that are fraught with something fatal. It may be a feeling that rebelled against the power of "secular chains":

I'm sad because I love you

And I know: your blooming youth

The insidious persecution will not spare the rumor.

This may be a disastrous passion, depicted in such poems as "Gifts of the Terek", "Sea Princess".

Pondering these verses, it is impossible not to recall the famous "Sail":

Alas! he does not seek happiness ...

This line is echoed by others:

What is the life of a poet without suffering?

And what is the ocean without a storm?

Lermontov's hero seems to be running from serenity, from peace, behind which for him is the dream of the soul, fading away and the poetic gift itself.

No, in the poetic world of Lermontov one cannot find happy love in its usual sense. Soul kinship arises here outside of "anything earthly," even outside the usual laws of time and space.

Recall the amazing poem "Dream". It cannot even be attributed to love lyrics, but it is precisely this that helps to understand what love is for Lermontov's hero. For him, this is a touch to eternity, and not the path to earthly happiness. Such is love in the world that is called the poetry of Mikhail Yuryevich Lermontov.

Analyzing the work of M.Yu. Lermontov, we can conclude that his love is eternal dissatisfaction, the desire for something sublime, unearthly. Having met love in life, and mutual love, the poet is not satisfied with it, trying to elevate the flared feeling into the world of higher spiritual suffering and experiences. He wants to receive from love what is obviously unattainable, and as a result, this brings him eternal suffering, sweet flour. These sublime feelings give the poet strength and inspire him to new creative ups.

2. "Test of love" by example

works by I.A. Goncharov "Oblomov"

An important place in the novel "Oblomov" is occupied by the theme of love. Love, according to Goncharov, is one of the “main forces” of progress; the world is driven by love.

The main storyline in the novel is the relationship between Oblomov and Olga Ilyinskaya. Here Goncharov follows the path that had become traditional in Russian literature by that time: checking the value of a person through his intimate feelings, his passions. The writer does not deviate from the then most popular resolution of such a situation. Goncharov shows how through the moral weakness of a person who is unable to respond to a strong feeling of love, his social failure is revealed.

The spiritual world of Olga Ilyinskaya is characterized by harmony of mind, heart, will. The impossibility for Oblomov to understand and accept

this high moral standard of life turns into an inexorable sentence to him as a person. There is a coincidence in the text of the novel, which turns out to be downright symbolic. On the same page where the name of Olga Ilyinskaya is first pronounced, the word "Oblomovism" also appears for the first time. However, it is not immediately possible to see a special meaning in this coincidence. In the novel, Ilya Ilyich’s suddenly flared up feeling of love, fortunately, mutual, is poeticized in such a way that hope may arise: Oblomov will be successful, in the words of Chernyshevsky, “Hamlet education” and will be reborn as a person to the fullest. The inner life of the hero began to move. Love discovered in Oblomov’s nature the properties of spontaneity, which, in turn, resulted in a strong spiritual impulse, a passion that threw him towards a beautiful girl, and two people “did not lie either to themselves or to each other: they betrayed what the heart said, and his voice passed through the imagination.

Together with a feeling of love for Olga, Oblomov awakens an active interest in spiritual life, in art, in the mental demands of the time. The hero is transformed so much that Olga, becoming more and more carried away by Ilya Ilyich, begins to believe in his final spiritual rebirth, and then in the possibility of their joint, happy life.

Goncharov writes that his beloved heroine “walked the simple natural path of life... she did not deviate from the natural manifestation of thought, feeling, will... No affectation, no coquetry, no tinsel, no intent!” This young and pure girl is full of noble thoughts in relation to Oblomov: “She will show him the goal, make him fall in love again with everything that he stopped loving ... He will live, act, bless life and her. To bring a person back to life - how much glory to the doctor when he saves a hopeless patient. And save the morally perishing mind, soul? And how much of her spiritual strength and feelings Olga gave in order to achieve this lofty moral goal. But, even love here was powerless.

Ilya Ilyich is far from the naturalness of Olga, free from many worldly considerations, extraneous and essentially hostile to the feeling of love. It soon turned out that Oblomov's feeling of love for Olga was a short-term outbreak. Illusions on this score are quickly dissipated by Oblomov. The need to make decisions, marriage - all this frightens our hero so much that he is in a hurry to convince Olga: “... you were mistaken,

in front of you is not the one you were waiting for, whom you dreamed of. The gap between Olga and Oblomov is natural: their natures are too dissimilar. Olga's last conversation with Oblomov reveals the huge difference between them. “I found out,” says Olga, “only recently that I loved in you what I wanted to be in you, what Stoltz pointed out to me, what we invented with him. I loved the future Oblomov. You are meek, honest, Ilya; you are gentle ... you are ready to coo all your life under the roof ... but I am not like that: this is not enough for me.

Happiness was short-lived. More expensive than romantic dates was for Oblomov the thirst for a serene, sleepy state. "A man sleeps serenely" - this is how Ilya Ilyich sees the ideal of existence.

The quiet fading of emotions, interests, aspirations, and even life itself, that's all that Oblomov had left after a bright flash of feelings. Even love could not bring him out of hibernation, change his life. But still, this feeling could, albeit for a short time, awaken Oblomov’s consciousness, made him “come to life” and feel an interest in life, but, alas, only for a short time! According to Goncharov, love is a beautiful, vibrant feeling, but love alone was not enough to change the life of a person like Oblomov.

3. The story of first love in the story

I.S. Turgenev "Asya"

The story of Ivan Sergeevich Turgenev "Asya" is a work about love, which, according to the writer, is "stronger than death and the fear of death" and which "holds and moves life." Asya's upbringing has roots in Russian traditions. She dreams of going "somewhere, to prayer, to a difficult feat." The image of Asya is very poetic. It is the romantic dissatisfaction of the image of Asya, the seal of mystery that lies on her character and behavior, that gives her attractiveness and charm.

After reading this story, Nekrasov wrote to Turgenev: “... she is so lovely. Spiritual youth emanates from her, all of her is pure gold of life. Without exaggeration, this beautiful setting fell into place with a poetic plot, and something unprecedented in beauty and purity came out with us.

Asya could be called a story about first love. This love ended sadly for Asya.

Turgenev was fascinated by the topic of how important it is not to pass by your happiness. The author shows how a beautiful love was born in a seventeen-year-old girl, proud, sincere and passionate. Shows how everything ended in one moment.

Asya doubts that one can fall in love with her, whether she is worthy of such a beautiful young man. She strives to suppress the nascent feeling in herself. She worries that she loves her dear brother less than a man whom she has only seen a few times. But Mr. N.N. introduced himself to the girl as an extraordinary person in the romantic setting in which they met. This is not a person of active action, but a contemplative. Of course, he is not a hero, but he managed to touch Asya's heart. With pleasure, this cheerful, carefree person begins to guess that Asya loves him. “I didn’t think about tomorrow; I felt good." “Her love both pleased and embarrassed me ... The inevitability of a quick, almost instant decision tormented me ...” And he comes to the conclusion: “To marry a seventeen-year-old girl, with her disposition, how is it possible!” Believing that the future is infinite, he is not going to decide fate now. He pushes Asya away, who, in his opinion, overtook the natural course of events, most likely would not have led to a happy ending. Only many years later, the hero realized how important the meeting with Asya was in his life.

Turgenev explains the reason for the failed happiness by the lack of will of a nobleman who at the decisive moment gives in to love. Postponing a decision to an indefinite future is a sign of mental weakness. A person should feel a sense of responsibility for himself and those around him every minute of his life.

4. "All love is a great happiness..."

(The concept of love in the story cycle

I.A. Bunin "Dark alleys")

I.A. Bunin has a very peculiar view of love relationships that distinguishes him from many other writers of that time.

In Russian classical literature of that time, the theme of love has always occupied an important place, and preference was given to spiritual, "platonic" love.

before sensuality, carnal, physical passion, which was often debunked. The purity of Turgenev's women has become a household word. Russian literature is predominantly the literature of "first love".

The image of love in Bunin's work is a special synthesis of spirit and flesh. According to Bunin, the spirit cannot be comprehended without knowing the flesh. I. Bunin defended in his works a pure attitude towards the carnal and bodily. He did not have the concept of female sin, as in Anna Karenina, War and Peace, Kreutzer Sonata by L.N. Tolstoy, there was no wary, hostile attitude towards the feminine, characteristic of N.V. Gogol, but there was no vulgarization of love. His love is an earthly joy, a mysterious attraction of one sex to another.

An encyclopedia of love dramas can be called "Dark Alleys" - a book of stories about love. “She speaks of the tragic and of many tender and beautiful things - I think that this is the best and most original thing that I wrote in my life ...” Bunin admitted to Teleshov in 1947.

The heroes of "Dark Alleys" do not oppose nature, often their actions are absolutely illogical and contrary to generally accepted morality (an example of this is the sudden passion of the heroes in the story "Sunstroke"). Bunin's love "on the verge" is almost a transgression of the norm, going beyond the ordinary. This immorality for Bunin, one might even say, is a certain sign of the authenticity of love, since ordinary morality turns out, like everything established by people, to be a conditional scheme that does not fit into the elements of natural, living life.

When describing risky details related to the body, when the author must be impartial in order not to go

the fragile line that separates art from pornography, Bunin, on the contrary, worries too much - to a spasm in the throat, to a passionate tremor: “... it just darkened in her eyes at the sight of her pinkish body with a tan on her shiny shoulders ... her eyes turned black and expanded even more, the lips parted feverishly ”(“ Galya Ganskaya. ”For Bunin, everything connected with sex is pure and significant, everything is shrouded in mystery and even holiness.

As a rule, the happiness of love in "Dark Alleys" is followed by parting or death. Heroes revel in intimacy, but

it leads to separation, death, murder. Happiness cannot be eternal. Natalie "died on Lake Geneva in a premature birth". Galya Ganskaya was poisoned. In the story “Dark Alleys”, the master Nikolai Alekseevich abandons the peasant girl Nadezhda - for him this story is vulgar and ordinary, and she loved him “all century”. In the story "Rusya", the lovers are separated by the hysterical mother of Rusya.

Bunin allows his heroes only to taste the forbidden fruit, to enjoy it - and then deprives them of happiness, hopes, joys, even life. The hero of the story "Natalie" loved two at once, but did not find family happiness with any of them. In the story "Heinrich" - an abundance of female images for every taste. But the hero remains alone and free from the "wives of men."

Bunin's love does not go into a family channel, it is not resolved by a happy marriage. Bunin deprives his heroes of eternal happiness, deprives them because they get used to it, and the habit leads to the loss of love. Love out of habit cannot be better than lightning-fast love, but sincere. The hero of the story "Dark Alleys" cannot bind himself by family ties with the peasant woman Nadezhda, but by marrying another woman of his circle, he does not find family happiness. The wife cheated, the son is a wast and a scoundrel, the family itself turned out to be "the most ordinary vulgar story." However, despite the short duration, love still remains eternal: it is eternal in the memory of the hero precisely because it is fleeting in life.

A distinctive feature of love in the image of Bunin is a combination of seemingly incompatible things. It is no coincidence that Bunin once wrote in his diary: “And again, again, such indescribably - sweet sadness from that eternal deception of another spring, hopes and love for the whole world, which you want with tears

gratitude to kiss the earth. Lord, Lord, why do you torment us like this.

The strange connection between love and death is constantly emphasized by Bunin, and therefore it is no coincidence that the title of the collection "Dark Alleys" here does not mean "shady" at all - these are dark, tragic, intricate labyrinths of love.

Any true love is a great happiness, even if it ends in separation, death, tragedy. To this conclusion, albeit late, but many Bunin's heroes come, who have lost, overlooked or destroyed their love themselves. In this late repentance, late spiritual resurrection, enlightenment of heroes and

there is that all-cleansing melody that speaks of the imperfection of people who have not yet learned to live, recognize and value real feelings, and of the imperfection of life itself, social conditions, the environment, circumstances that often impede truly human relationships, and most importantly - about those high emotions that leave an unfading trace of spiritual beauty, generosity, devotion and purity.

5. Love lyrics by S. Yesenin

S. Yesenin's love lyrics are painted in pure and gentle tones. The feeling of love is perceived by the poet as a rebirth, as the awakening of all the most beautiful in a person. Yesenin shows himself to be a brilliant master of disclosure, using Pushkin's term "the physical movement of passions." Through the smallest details, he draws a complex range of feelings. Only two lines:

Anyway - your eyes are like the sea,

Blue swaying fire

Just to gently touch the hand

And your hair color in autumn

And in each of them - the uniqueness of feeling. The fullness and true poetry of experiences, the great beauty of love.

The cycle "Love of a Hooligan" is compositionally built as a novel about a hero in love - from the beginning of a feeling to its end, from "the first time I sang about love" to "did I fall out of love with you yesterday?"

If in the book “Poems of a brawler” love is “infection”, “plague”, with a cynical word, with a defiant “Our life is a sheet and a bed, our life is a kiss and into the pool”, then in “Love of a bully” the image of love is bright, and therefore, the lyrical hero declares: “For the first time I refuse to scandal”; “I didn’t like drinking and dancing, and losing my life without looking back”; "That I say goodbye to hooliganism." This love is so pure that the beloved is associated with the iconic face: “Your iconic and strict face hangs in chapels in ryazan”.

“Love of a bully” is the subtlest psychological lyrics, in which the poet’s autumn moods are in tune with peace of mind, which is becoming more and more insistent the main theme of his

late poetry. Love is a rare theme in Yesenin's early work. Now, in his late lyrics, the concept of grace-filled love is emerging, not burdensome, giving joy and quiet sadness. Yesenin's love gives pleasure, and Pushkin's tradition also affected this. Both in “The Love of a Hooligan” and in subsequent poems on this topic, there is practically no love pessimism, love drama, love reflection, characteristic of the image of love in the lyrics.

M. Lermontov, A. Akhmatova, A. Blok, V. Mayakovsky

The next cycle of love poems is "Persian

motives”, in which S. Yesenin reveals the art of love. Here Yesenin mentions Saadi, who created the image of a Turkish woman who overshadowed the beauty of everyone and everything, and the image of his breathtaking, hypertrophied love: he is smitten with her eyes, he "bleeds from the heart", he "is exhausted from jealousy", and sherbet without a loved one became bitter poison, he retires into the thicket of gardens, possessed by the “madness of love”, and his peri is “the breath of early spring”, this is “musk and amber”, her look is drunken with crimson wine, and “the light that illuminates the whole world dims before her” .

Yesenin is not focused on love suffering, on

love self-destruction, he writes poems about the ability to love, about guessing desires, about the attributes of love: from gifts to his beloved (“I will give a shawl from Khorossan / And I will give a Shiraz carpet”), from affectionate speeches (“How to tell me for the beautiful Lala / tender Persian “I love”?”; how to say to me for the beautiful Lala / Affectionate word “kiss”?”; “How to tell her that she is “mine”?” However, the Persian harmony of love in the artistic imagination of the poet is only temporary.

In 1925, the Don Juan theme was revealed in Yesenin's love lyrics. “Don't look at me reproachfully...”, “What a night! I can’t”, “You don’t love me, don’t feel sorry for me ...”, “Maybe it’s too late, maybe too early ...”, “Who am I? What am I? Only a dreamer...” – all these poems are devoted to “love of inexpensive”, “tempered connection”, mistaken for love of “sensual trembling”, frivolous women who are loved “by the way”. This love is without suffering, it is a pleasure, it does not require sacrifices from the poet. This love is pacifying, it corresponds to the mood of the poet for peace of mind. The lyrical hero of Yesenin, keeping the memory of true love "in the distant, dear", now notices in himself this love lightness, and the desire for eternal love happiness: "I began to resemble Don Juan, like a real windy poet"; "And from that

I have many knees, so that happiness smiles forever, not resigning itself to the bitterness of betrayal.

The philosophy of "I accept everything" helps the lyrical hero to resolve the classic love triangle. In the verses “Do not twist your smile, pulling your hands ...”, “What a night! I can't...", "Don't look at me reproachfully..." reveals the theme of a woman's unrequited love for him. She can't give him love, nor the "weasel-filled lie" given by another with "dove" eyes. But,

choosing the path of consent, striving for wholeness and peace, he succumbs to someone else's feeling: "But still caress and hug, in the sly passion of a kiss, may my heart dream forever of May, and the one that I love forever."

Yesenin's lyrical hero is not in the mood for reflection, duality, self-flagellation. He strives for harmony, for wholeness. The hero himself suppresses any reason for suffering - in this case, because of the "bitterness of betrayal."

Yesenin's attitude to love was not constant, it changed with the poet with age. At first, it is joy, delight, he sees only pleasure in love. Then love becomes more passionate, bringing both burning joy and burning suffering. Later, in Yesenin's work, a philosophical understanding of life through love is observed.

6. Philosophy of love in the novel by M.A. Bulgakov

" Master and Margarita"

A special place in Russian literature is occupied by M. Bulgakov's novel "The Master and Margarita", which can be called the book of his life, the fantastic-philosophical, historical-allegorical novel "The Master and Margarita" provides great opportunities for understanding the views and searches of the author.

One of the main lines of the novel is connected with the "eternal

love” of the Master and Margarita, “thousands of people walked along Tverskaya, but I guarantee you that she saw me alone and looked not only anxiously, but even as if painfully. And I was struck not so much by beauty as by an extraordinary, unseen loneliness in the eyes! This is how the Master remembered his beloved.

It must have been some kind of incomprehensible light burning in their eyes, otherwise you can’t explain the love that “jumped out” in front of them, “like a murderer jumping out of the ground in an alley”, and struck them both at once.

One could expect that, since such love broke out, it would be passionate, stormy, burning both hearts to the ground, but she turned out to have a peaceful domestic character. Margarita came to the Master’s basement apartment, “put on an apron ... lit a kerosene stove and cooked breakfast ... when there were May thunderstorms and water rolled noisily in the gateway past the blinded windows ... the lovers melted the stove and baked potatoes in it ... In the basement laughter was heard, the trees in the garden threw off their broken branches and white brushes after the rain. When the thunderstorms ended and the stuffy summer came, the long-awaited and beloved roses appeared in the vase ... ".

This is how carefully, chastely, peacefully the story of this love is being told. Neither the joyless black days when the Master's novel was crushed by critics and the life of lovers stopped, nor the serious illness of the Master, nor his sudden disappearance for many months, did not extinguish it. Margarita could not part with him even for a minute, even when he was gone and had to think that he would no longer be at all. She could only mentally belittle him so that he would let her go free, "let her breathe the air, would leave her memory."

The love of the Master and Margarita will be eternal only because one of them will fight for the feelings of both. Margarita will sacrifice herself for the sake of love. The master will get tired and afraid of such

a powerful feeling that 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 refuse 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.

You read the pages dedicated to Margarita, and you are tempted to call them Bulgakov's poem to the glory of his own beloved, Elena Sergeevna, with whom he was ready to commit, as he wrote about that on the copy of the collection Diaboliad presented to her, and really made "his last flight." Perhaps, in part, the way it is - a poem. In all the adventures of Margarita - both during the flight and visiting Woland - she is accompanied by the loving look of the author, in which there is both tender affection and pride in her - for her truly royal dignity,

generosity, tact, - and gratitude for the Master, whom she, by the power of her love, saved from madness and returned from non-existence.

Of course, her role is not limited to this. Both love and the whole story of the Master and Margarita are the main line of the novel. All events and phenomena that fill actions converge to it - life, politics, culture, and philosophy. Everything is reflected in the clear waters of this stream of love.

Bulgakov did not invent a happy ending in the novel. And only for the Master and Margarita did the author reserve a happy ending in his own way: eternal rest awaits them.

Bulgakov sees in love a force for which a person can overcome any obstacles and difficulties, as well as achieve eternal peace and happiness.

CONCLUSION

Summing up, I would like to say that Russian literature of the 19th-20th centuries constantly turned to the theme of love, trying to understand its philosophical and moral meaning. In this tradition, eros was understood broadly and ambiguously, first of all, as a path to creativity, to the search for spirituality, to moral perfection and moral responsiveness. The concept of eros presupposes the unity of philosophy and the concept of love, and therefore it is so closely connected with the world of literary images.

On the example of works of literature of the 19th - 20th centuries considered in the abstract, I tried to reveal the theme of the philosophy of love, using the view of different poets and writers on it.

So, in the lyrics of M.Yu. Lermontov's heroes experience an exalted feeling of love, which takes them to the world of unearthly passions. Such love brings out the best in people, makes them nobler and purer, elevates them and inspires them to create beauty.

And the result of such a test is a state of sadness, tragedy. The author shows that even such a beautiful, sublime feeling of love could not fully awaken the consciousness of a “morally” perishing person.

In the story "Asya" I.S. Turgenev develops the theme of the tragic meaning of love. The author shows how important it is not to pass by your happiness. Turgenev explains the reason for the failed happiness of the heroes by the lack of will of the nobleman, who at the decisive moment gives in to love, and this indicates the spiritual weakness of the hero.

Love in the work of I.A. Bunin manifests itself in the heroes as a deep, morally pure and wonderful feeling. The author shows that true love is a great happiness, even if it ends in separation, death or tragedy.

If we talk about the love lyrics of S.A. Yesenin, I would like to say that he wrote about love in different and original ways: both as a researcher of his own feelings, and as a philosopher, and as a poet at the same time. He sang the beauty of feeling, glorified love as the greatest force that unites people.

In the novel "The Master and Margarita" M. Bulgakov shows that a loving person is capable of sacrifice, of death for the sake of peace and happiness of a loved one. And yet he remains happy.

Times have changed, but the problems remain the same: “what is the meaning of life”, “what is good and what is evil”, “what is love and what is its meaning”. I think that the theme of love will always sound. I agree with the opinion of the writers and poets I have chosen that love can be different, happy and unhappy. But this feeling is deep, infinitely tender. Love makes a person nobler, purer, better, softer and more merciful. It brings out the best in everyone, makes life more beautiful.

Where there is no love, there is no soul.

I would like to finish my work with the words

Z.N. Gippius: “Love is one, true love carries immortality, an eternal beginning; love is life itself; you can get carried away, change, fall in love again, but true love is always the same!"

LIST OF USED LITERATURE

1. A.A. Ivin "Philosophy of Love", Politizdat, M. 1990

2. N.M. Velkov "Russian Eros, or the Philosophy of Love in Russia", "Enlightenment", M. 1991

3. M.Yu. Lermontov "Poems, poems", "Fiction", M. 1972

4. I.S. Turgenev "Tales and stories", "Fiction", Leningrad, 1986

5. I.A. Goncharov "Oblomov", "Enlightenment", M.1984

6. I.E. Kaplan, N.T. Pinaev, Reader of historical and literary materials yes 10th grade, "Enlightenment", M. 1993

7. I.A. Bunin "Favorites", "Maxla", Riga, 1985

8. N.M. Solntsev "Sergey Yesenin", Moscow State University, 1998

9. S.A. Yesenin "Poems and Poems", "Artistic

Literature, M. 1982

10. V.G. Boborykin "Mikhail Bulgakov", Enlightenment, M. 1991