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 got 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
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. No wonder the eternal problems of love are devoted to many works of 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 either a serious test for their heroes, or became the cause of a difficult 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 start from the highest, from more important than happiness or unhappiness, sin or virtue in their current sense, or you don’t need to. talk at all." Understood, but was already deeply unhappy.
About how important it is not to overlook your happiness, Turgenev writes in the story "Asya".
The protagonist 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 frightened by the bright and strong feelings of the girl, 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.
Bunin and Kuprin also wrote about the complexities of love relationships. 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 a weak, nervous and not very smart person. 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 said.
"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,
You've seen a lot in your lifetime."
But he answered them: “It is difficult for you, friends,
Understand where is the truth, where is the lie.
Love can not be explained, unfortunately:
If you fall in love, then you will understand!”
Updated: 2018-04-26
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The theme of feelings is eternal in art, music, literature. In all eras and times, many different creative works have been devoted to this feeling, which have become inimitable masterpieces. This topic remains very relevant today. Especially relevant in literary works is the theme of love. After all, love is the purest and most beautiful feeling that has been sung by writers since ancient times.
The lyrical side of the works is the first thing that attracts the attention of most readers. It is the theme of love that inspires, inspires and evokes a number of emotions, which are sometimes very contradictory. All the great poets and writers, regardless of the style of writing, themes, time of life, devoted a lot of their works to the ladies of their hearts. They invested their emotions and experiences, their observations and past experiences. Lyrical works are always full of tenderness and beauty, vivid epithets and fantastic metaphors. The heroes of the works perform feats for the sake of their loved ones, take risks, fight, dream. And sometimes, watching such characters, you are imbued with the same experiences and feelings of literary heroes.
1. The theme of love in the works of foreign writers.
In the Middle Ages, the chivalric romance was popular in foreign literature. The chivalric romance, as one of the main genres of medieval literature, originates in the feudal environment in the era of the emergence and development of chivalry, for the first time in France in the middle of the 12th century. The works of this genre are filled with elements of the heroic epic, boundless courage, nobility and courage of the main characters. Often, knights went to exploits not for the sake of their kind or vassal duty, but in the name of their own glory and glorification of the lady of their heart. Fantastic adventure motifs, an abundance of exotic descriptions make the chivalric romance partly similar to a fairy tale, the literature of the East and the pre-Christian mythology of Northern and Central Europe. The emergence and development of the chivalric romance was greatly influenced by the work of ancient writers, in particular Ovid, as well as the rethought legends of the ancient Celts and Germans.
Consider the features of this genre on the example of the work of the French medievalist philologist, writer Joseph Bedier "The Romance of Tristan and Isolde". Note that in this work there are many elements alien to traditional chivalric novels. For example, the mutual feelings of Tristan and Isolde are devoid of courtesy. In the chivalric novels of that era, the knight went to great deeds for the sake of love for the Beautiful Lady, who for him was the living bodily embodiment of the Madonna. Therefore, the knight and the same Lady had to love each other platonically, and her husband (usually the king) is aware of this love. Tristan and Isolde, his beloved are sinners in the light of Christian morality, not only medieval. They only care about one thing to keep their relationship secret from others and to prolong their criminal passion by any means. Such is the role of Tristan's heroic leap, his constant "pretense", Isolde's ambiguous oath at the "God's court", her cruelty towards Brangien, whom Isolde wants to destroy because she knows too much, etc. Tristan and Isolde are defeated strongest desire to be together, they deny both earthly and divine laws, moreover, they doom not only their own honor, but also the honor of King Mark to desecration. But uncle Tristana is one of the noblest heroes who humanly forgives what he should punish like a king. He loves his wife and nephew, he knows about their deceit, but this does not show his weakness at all, but the greatness of his image. One of the most poetic scenes of the novel is the episode in the forest of Morois, where King Mark found Tristan and Isolde sleeping, and seeing a naked sword between them, he readily forgives them (in the Celtic sagas, a naked sword separated the bodies of the heroes before they became lovers , but in the novel it is a hoax).
To some extent, it is possible to justify the heroes, to prove that they are not at all guilty of their sudden outbreak of passion, they fell in love not at all because, say, Isolde’s “blondness” attracted him, but her Tristan’s “valor”, but because the heroes drank a love potion by mistake, intended for a completely different occasion. Thus, love passion is depicted in the novel as the result of the action of a dark force that penetrates into the bright world of the social world order and threatens to destroy it to the ground. This clash of two irreconcilable principles already contains the possibility of a tragic conflict, which makes The Romance of Tristan and Isolde a fundamentally pre-courtly work in the sense that courtly love can be arbitrarily dramatic, but it is always joy. The love of Tristan and Isolde, on the contrary, brings them one suffering.
“They languished apart, but suffered even more” when they were together. “Isolde has become a queen and lives in grief,” writes the French scholar Bedier, who retold the novel in prose in the nineteenth century, “Isolde has a passionate, tender love and Tristan is with her at any time, day and night.” Even while wandering in the forest of Morois, where lovers were happier than in the luxurious castle of Tintagele, their happiness was poisoned by heavy thoughts..
Many other writers have been able to capture their thoughts about love in their works. For example, William Shakespeare gave the world a number of his works that inspire exploits and risk in the name of love. His "Sonnets" are filled with tenderness, luxurious epithets and metaphors. Harmony is rightly called the unifying feature of the artistic methods of Shakespeare's poetry. The impression of harmony comes from all the poetic creations of Shakespeare.
The expressive means of Shakespeare's poetry are unusually varied. They inherited a lot from the entire European and English poetic tradition, but introduced a lot of absolutely new things. Shakespeare also shows his originality in the variety of new images he introduced into poetry, and in the novelty of the interpretation of traditional plots. He used poetic symbols common to Renaissance poetry in his works. Already by that time there was a significant number of familiar poetic devices. Shakespeare compares youth with spring or sunrise, beauty with the beauty of flowers, the withering of a person with autumn, old age with winter. The description of the beauty of women deserves special attention. "Marble whiteness", "lily tenderness", etc. these words contain boundless admiration for female beauty, they are filled with endless love and passion.
Undoubtedly, the play "Romeo and Juliet" can be called the best embodiment of love in the work. Love triumphs in the play. The meeting of Romeo and Juliet transforms them both. They live for each other: "Romeo: Heaven is mine where Juliet is." Not languid sadness, but a living passion inspires Romeo: “All day long, some kind of spirit carries me up above the earth in joyful dreams.” Love transformed their inner world, influenced their relationships with people. Romeo and Juliet's feelings are severely tested. Despite the hatred between their families, they choose boundless love, merging in a single impulse, but individuality has been preserved in each of them. The tragic death only adds to the special mood of the play. This work is an example of a great feeling, despite the early age of the main characters.
2. The theme of love in the works of Russian poets and writers.
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. Eventhe most rigorous reader will be able to discover something close to him 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 1818at 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 put verses written specially 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 the Love of the old 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, “Inspiration saved me from petty fuss, but there is no salvation from my soul even in happiness itself.” In Lermontov's poems, love is a lofty, poetic, bright feeling, but always unrequited or lost. In the poem "Valerik", the love part, which later became a romance, conveys a bitter feeling of losing touch with his beloved. “Is it 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 help 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 are about striving 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 the relationship with another woman, the beautiful but down-to-earth Alenka, could not save, 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.
3. The theme of love in the literary works of the XX century.
The theme of love continues to be relevant in the 20th century, in the era of global catastrophes, a political crisis, when humanity is making attempts to re-form its attitude towards universal values. Writers of the 20th century often depict love as the last remaining moral category of the then destroyed world. In the novels of the writers of the “lost generation” (Remarque and Hemingway belong to them), these feelings are the necessary stimulus for which the hero tries to survive and live on. The "Lost Generation" is the generation of people who survived the First World War and remained spiritually devastated.
These people renounce any ideological dogmas, search for the meaning of life in simple human relationships. The feeling of a comrade's shoulder, which almost merged with the instinct of self-preservation, guides the mentally lonely heroes of Remarque's novel All Quiet on the Western Front through the war. It also determines the relationship that arises between the characters of the novel "Three Comrades".
The hero of Hemingway in the novel A Farewell to Arms renounced military service, what is usually called the moral duty of a person, renounced for the sake of a relationship with his beloved, and his position seems very convincing to the reader. A man of the 20th century is constantly faced with the possibility of the end of the world, with the expectation of his own death or the death of a loved one. Katherine, the heroine of A Farewell to Arms, dies, as does Pat in Remarque's Three Comrades. The hero loses a sense of being needed, a sense of the meaning of life. At the end of both works, the hero looks at the dead body, which has already ceased to be the body of the beloved woman. The novel is filled with the author's subconscious thoughts about the mystery of the origin of love, about its spiritual basis. One of the main features of the literature of the 20th century is its inseparable connection with the phenomena of social life. The author's reflections on the existence of such concepts as love and friendship appear against the backdrop of the socio-political problems of that time and, in essence, are inseparable from reflections on the fate of mankind in the 20th century.
In the work of Francoise Sagan, the theme of friendship and love usually remains within the framework of a person's private life. The writer often depicts the life of the Parisian bohemia; most of her characters belong to her. F. Sagan wrote her first novel in 1953, and it was then perceived as a complete moral fall. In the artistic world of Sagan, there is no place for a strong and truly strong human attraction: this feeling must die as soon as it is born. It is replaced by another - a feeling of disappointment and sadness.
Conclusion
Love is a high, pure, wonderful feeling that people have sung since ancient times, in all languages of the world. Love has been written about before, is being written about now, and will be written about in the future.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. The creators of 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. 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.
Sometimes it seems that everything has been said about love in world literature. But love has a thousand shades, and each of its manifestations has its own holiness, its own sadness, its own fracture and its own fragrance.
List of sources used
- Anikst A. A. Shakespeare's work. M.: Allegory, 2009 350 p.
- Bunin, I. A. Collected works in 4 volumes. V.4 / I. A. Bunin. M.: Pravda, 1988. 558 p.
- Volkov, A.V. Prose of Ivan Bunin / A.V. Volkov. M.: Moskov. worker, 2008. 548 p.
- Grazhdanskaya Z. T. "From Shakespeare to Shaw"; English writers of the XVI-XX centuries. Moscow, Prosveshchenie, 2011
- Nikulin L.V. Kuprin // Nikulin L.V. Chekhov. Bunin. Kuprin: Literary portraits. M.: 1999 S. 265 325.
- Petrovsky M. Dictionary of literary terms. In 2 volumes. M.: Allegory, 2010
- Smirnov A. A. "Shakespeare". Leningrad, Art, 2006
- Teff N. A. Nostalgia: Stories; Memories. L.: Fiction, 2011. S. 267 446.
- Shugaev V.M. Experiences of a reading person / V.M. Shugaev. M.: Sovremennik, 2010. 319 p.
Examples of love in literature
- Romeo and Juliet
- Gi De Mopassan
- A. Tolstoy Walking through the torments ... Dasha and Ivan, Roshchin and Katya
- Love is a high, pure, wonderful feeling that people have sung about since ancient times. Love, as they say, never gets old.
Another example is the heroes of Bulgakov's Master and Margarita. Their love is just as sacrificial, it would seem, as the love of Romeo and Juliet. True, here Margarita sacrifices herself for the sake of love. The master was frightened by this strong feeling and ended up in a lunatic asylum. There he hopes that Margarita will forget him. Of course, the failure that befell his novel also affected the hero. The master flees from the world and, above all, from himself.
But Margarita saves their love, saves the Master from madness. Her feeling for the hero overcomes all obstacles that stand in the way of happiness.
Many poets have also written about love.
I really like, for example, the so-called Panaev cycle of Nekrasov's poems, which he dedicated to Avdotya Yakovlevna Panaeva, the woman he passionately loved. It is enough to recall such poems from this cycle as the Heavy Cross she got to share ..., I do not like your irony ... to say how strong the poet's feeling for this beautiful woman was.
And here are the lines from a beautiful poem about love by Fyodor Ivanovich Tyutchev:
Oh, how deadly we love
As in the violent blindness of passions
We are the most likely to destroy
What is dear to our heart!
How long have you been proud of your victory?
You said she's mine...
A year has not passed - ask and tell
What is left of her?
And, of course, one cannot fail to mention Pushkin's love lyrics here.
I remember a wonderful moment:
You appeared before me
Like a fleeting vision
Like a genius of pure beauty.
In the languor of hopeless sadness,
In the anxieties of noisy bustle,
And dreamed of cute features ...
Pushkin handed these poems to Anna Petrovna Kern on July 19, 1825, on the day of her departure from Trigorskoye, where she was visiting her aunt P. A. Osipova and constantly met with the poet.
I want to finish my essay again with lines from another poem by the great Pushkin:
I loved you: love still, maybe
The Master and Margarita - Bulgakov
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12 ANSWERS
Lusyachka Sage (14951) 8 years ago
2 Like Complain
Kisulya Lenulya Profi (874) 8 years ago
Gi De Mopassan
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Olga G. Sage (14450) 8 years ago
A. Tolstoy Going through the torments... Dasha and Ivan, Roshchin and Katya
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Misa Profi (838) 8 years ago
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CYPARIS Profi (816) 8 years ago
Romeo and Juliet
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Oksana Shtyrkova Connoisseur (426) 8 years ago
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Rasmus92 nosername Guru (3052) 8 years ago
find me where it is not =)
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Lucy the Thinker (7535) 8 years ago
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hrisagy the thinker (7563) 8 years ago
I will name the heroines whom this love did not bypass, so to speak, by: Tanya from Eugene Onegin, Karenin from Tolstoy, Juliet from Shakespeare, Asya Turgenevskaya, Liza from Poor Liza Karamzin ...
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Marina Reshke Pupil (115) 1 month ago
Love is a high, pure, wonderful feeling that people have sung about since ancient times. Love, as they say, never gets old.If we erect a certain literary pedestal of love, then, undoubtedly, the love of Romeo and Juliet will come first. This is perhaps the most beautiful, most romantic, most tragic story that Shakespeare told the reader. Two lovers go against fate, despite the enmity between their families, no matter what. Romeo is ready for the sake of love to give up even his own name, and Juliet agrees to die, if only to remain faithful to Romeo and their high feeling. They die in the name of love, they die together because they cannot live without each other:
There is no sadder story in the world
Than the story of Romeo and Juliet...
However, love can be different passionate, tender, prudent, cruel, unrequited ...
Let us recall the heroes of Turgenev's novel Fathers and Sons of Bazarov and Odintsova. Two equally strong personalities collided. But strangely enough, Bazarov turned out to be able to truly love. Love for him was a strong shock, which he did not expect, and in general, before meeting Odintsova, love in the life of this hero did not play any role. All human suffering, emotional experiences were unacceptable for his world. It is difficult for Bazarov to confess his feelings, first of all to himself.
But what about Odintsova? .. As long as her interests were not affected, as long as there was a desire to learn something new, Bazarov was also interesting to her. But as soon as the topics for general conversation were exhausted, interest disappeared. Odintsova lives in her own world, in which everything goes according to plan, and nothing can disturb peace in this world, not even love. Bazarov for her is something like a draft that flew in through the window and immediately flew back. Such love is doomed.
Another example is the heroes of Bulgakov's Master and Margarita. Their love is just as sacrificial, it would seem, as the love of Romeo and Juliet. True, there
- In classic? Mutual? Yes please!
Natasha and Pierre, Marya and Nikolai - "War and Peace" by Tolstoy
Sonya and Rodion - "Crime and Punishment" by Dostoevsky
Grushenka and Dmitry, Lisa and Alsha - The Brothers Karamazov
Katya and Arkady - "Fathers and Sons" by Turgenev
Olga and Stolz - Goncharov's "Oblomov"
Shulamith and Solomon - "Shulamith" Kuprin
The Master and Margarita - Bulgakov
Angelique and Geoffrey de Peyrac - "Angelique" by Anne and Serge Golon
Deja and Gwynplaine - "The Man Who Laughs" by Hugo
Marius and Cosette - Les Misérables HugoIf you do not need mutual, write to me on the soap.
- Eugene Onegin and Anna Karenina are enough for me....
- Count of Monte Cristo and Mercedes, Romeo and Juliet, Orpheus and Eurydice
- Eugene Onegin and Tatyana - unrequited love;
Pechorin and Vera, Mary, Bela - love in one direction, love out of boredom;
Mr. Darcy and Elizabeth ("Pride and Prejudice") - mutual love and respect. - Gadfly. E. Voynich.
- find me where it is not =)
- Romeo and Juliet. The most touching, passionate and unhappy love!
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 equally strong personalities collided. Their common interests, conversations eventually grew 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 part ways.
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 eventually wins, Margarita saves the Master from the 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. The creators of 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.
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