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.

That Russian literature of the 19th-20th centuries constantly turned to the theme of love, trying to understand its philosophical and moral meaning. On the example of works of literature of the 19th - 20th centuries considered in the abstract, I tried to reveal the theme of love in literature and philosophy, using the views of different writers and the famous philosopher on it. So, in the novel "The Master and Margarita", Bulgakov sees in love a force, ...

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As if conveying to the heroine his shock, his pain and happiness, and unexpectedly displaces all vain things from the soul, instilling reciprocal ennobling suffering. Zheltkov's last letter raises the theme of love to the point of high tragedy. It is dying, so each of its lines is filled with a particularly deep meaning. But it is even more important that with the death of the hero, the sound of the pathetic motives of the all-powerful ...

The years are bleak. He sees an inexorable law operating in human relations: the law of suffering, evil and destruction. Hence the tragic understanding of love that permeated all of Tyutchev's later lyrics: The union of the soul with the soul of one's own - Their union, combination, And their fatal merger, And the fatal duel ... Feelings are strong and selfless, hearts are devoted to each other, however, "the union of the soul with the soul" destructive. If...

Mood now - karasho

The theme of love is eternal, as the very feeling that gave birth to it spiritualized the art of all times and peoples. But in every era it expressed some special moral and aesthetic values. In Russian literature of the XX century. this theme took on a new meaning, since the penetration into the dissonances of the human soul caused a dream of its complete "remelting". It can be argued that the artists largely determined the holistic concept of life through the comprehension of the essence of love.

Philosophical thought first came to the interpretation of this gift as a powerful, transforming force. Solovyov singled out "sexual love" - ​​between a man and a woman - among other types of this feeling (fraternal, parent-son, etc.) and debunked the view of some of the creators of classical philosophy, in particular A. Schopenhauer. Rejection caused the recognition of "sexual love" "as a means of the generic instinct, or as an instrument of reproduction", as well as "a seduction used by nature or the world's will to achieve its special goals." For Solovyov, purely carnal attraction (a given of real existence) had nothing in common with love. But he did not deny, on the contrary, in every possible way enlarged the significance of bodily passion. It is its burning that gives the “highest flourishing” of individuality. Moreover, “sexual love” saves people from loneliness and selfishness: it is important “as the transfer of all our vital interest from oneself to another”, as “a real and inseparable connection of two lives into one”. But Solovyov did not limit the opportunities that opened up before a passionately loving person with such achievements. The attraction to the ideal image leads to creativity - to the transformation "according to this true model of reality that does not correspond to it." Not accepting the Christian call for asceticism, the suppression of supposedly sinful flesh, the philosopher worshiped the creative principle of love: "False spirituality is the denial of the flesh, true spirituality is its rebirth, salvation, resurrection." Solovyov also revealed the crown of these metamorphoses: "... the path of higher love, perfectly connecting the male with the female, the spiritual with the bodily, is the union or interaction of the divine with the human ...".

Some religious thinkers of the younger generation (V. Rozanov, N. Berdyaev, L. Karsavin) developed the position of Solovyov's work "The Meaning of Love" in their own way; others (S. Bulgakov, S. Frank) did not agree with the recognition of "sexual love" of the highest type of human feeling. But everyone saw in him a source of spiritual renewal.

N. Berdyaev wrote with conviction: “Eros, about which Christ so mysteriously taught, which he wanted to unite people in God, is not tribal love, but personal and conciliar, not natural love, but super-natural, not crushing individuality in time, but affirming her for eternity." S. Frank, pointing to the “tragic illusory nature of erotic love” (a kind of false idolatry), did not doubt that “love is generally a precious good, happiness and consolation of human life - moreover, its only true basis.

In verbal art there were direct followers of the humanistic philosophy of V. Solovyov - symbolists; the group of A. Bely called themselves “Solovievites”. In addition to direct influence, the creators of poetry and prose of a heterogeneous aesthetic orientation independently, following the logic of their life and literary experience, came to reveal even the painful trials of unhappy love as the greatest stimulus for human transformation. Therefore, love torments approached the torments of creativity, more often artistic ones, in different ways.

The betrayal of a woman is perceived by the lyrical hero of N. Gumilyov (collection "Pearls") as the loss of the most precious ability of the soul - "the ability to fly." However, in suffering, a passionate desire is born to “bewitch the gardens of a painful distance”, in death to find “islands of perfect happiness”. Unrequited love (the collection "Bonfire") still attracts "the heart to the heights", "scattering stars and flowers." And in a joyful rapprochement with a loved one, a new beautiful country of dreams is found (collection "Pillar of Fire"):

Where all the sparkle, all the movement,
Singing all - we live there with you;
Here is only our reflection
Filled with a rotting pond.

A. Akhmatova took her bitter disappointments and losses as a source of inspiration: "it became easier without love" - ​​"one hope has become less, / There will be one more song." From the ashes of a burnt feeling, like a Phoenix, a self-denying craving for poetry is reborn:

You are heavy, love memory!
I sing and burn in your smoke,
And to others it's just a flame,
To warm the cold soul.

Intimate experiences are conveyed everywhere, often by means of concrete, "material" details. Nevertheless, the image of the ideal is pushed aside by the embodiment of one or another meaning of love: the triumph of a dream, the rise of the spirit, the victory of the gift of singing ... A high feeling becomes the outcome of a person's self-awareness, reflections on the essence of being.

In the prose of A. Kuprin, I. Bunin, and other major artists of the era, a similar aspiration was expressed in a peculiar way. Writers were attracted not so much by the history of the relationship of a loving couple or the development of their psychological duel, but by the influence of the experience on the hero's understanding of himself and the whole world. Or the author's understanding of the same processes was put forward in the foreground of the narrative. Therefore, the event outline was extremely simplified, and attention was focused on moments of insight, turning internal states of the character.

The boundless spiritual possibilities of a person and his own inability to realize them - this is what worried Kuprin, and was already captured in his early stories. In the note “Folklore and Literature”, he deciphered his idea of ​​the reasons for this duality: the struggle between “strength of the spirit” and “strength of the body” has always been waiting for people. The writer, however, believed in overcoming base carnal desires with high demands.

The theme of love in literature

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. 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 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 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.

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 heroes belong to her.F. Sagan wrote her first novel in 1953, and it was then perceived as a complete moral failure. 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.

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The theme of love in Russian literature

Love jumped out in front of us like a killer jumps around the corner

and instantly hit us both at once ...

M. Bulgakov

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" - 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 characters in Bulgakov's The 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 “She got a heavy cross ...”, “I don’t 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, perhaps

In my soul it has not completely died out;

But don't let it bother you anymore;

I don't want to sadden you with anything.

I loved you silently, hopelessly,

Either timidity or jealousy languish;

I loved you so sincerely, so tenderly,

How God forbid you be loved to be different.

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 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 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.