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• Introduction
• Conclusion

Introduction

The theme of feelings is eternal in art, music, and literature. In all eras and times, many different creative works were dedicated to this feeling, which became inimitable masterpieces. This topic remains very relevant today. The theme of love is especially relevant in literary works. After all, love is the purest and most beautiful feeling, which 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 great poets and writers, regardless of writing style, theme, or time of life, dedicated many of their works to the ladies of their hearts. They contributed their emotions and experiences, their observations and past experiences. Lyrical works are always full of tenderness and beauty, bright epithets and fantastic metaphors. The heroes of the works perform feats for the sake of their loved ones, take risks, fight, and dream. And sometimes, watching such characters, you become 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 foreign literature The chivalric romance was popular. Knightly romance - as one of the main genres medieval literature, originates in a feudal environment during the era of the emergence and development of chivalry, for the first time in France in the mid-12th century. Works of this genre are filled with elements heroic epic, the boundless courage, nobility and courage of the main characters. Often, knights went to great lengths not for the sake of their family or vassal duty, but in the name of their own glory and the glorification of the lady of their heart. Fantastic adventure motifs and an abundance of exotic descriptions make the knightly 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 reinterpreted tales of the ancient Celts and Germans.

Let us consider the features of this genre using the example of the work of the French philologist-medievalist, writer Joseph Bedier, “The Novel of Tristan and Isolde.” Let us note that in this work there are many elements alien to traditional chivalric romances. For example, the mutual feelings of Tristan and Isolde are devoid of courtliness. IN chivalric romance of that era, a knight went to great lengths for the sake of love for the Beautiful Lady, who for him was the living physical embodiment of the Madonna. Therefore, the knight and that same Lady had to love each other platonically, and her husband (usually the king) was aware of this love. Tristan and Isolde, his beloved, are sinners in the light of Christian morality, not only medieval ones. They only care about one thing - to keep their relationship secret from others and to prolong their criminal passion by any means. This is the role of Tristan’s heroic leap, his constant “pretense,” Isolde’s ambiguous oath at “God’s court,” her cruelty towards Brangien, whom Isolde wants to destroy because she knows too much, etc. Tristan and Isolde are overcome by a strong desire to be together, they deny both earthly and divine laws, moreover, they condemn not only their own honor, but also the honor of King Mark to desecration. But Tristan’s uncle is one of the noblest heroes, who humanly forgives what he must punish as a king. He loves his wife and nephew, he knows about their deception, but this does not reveal 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, readily forgives them (in the Celtic sagas, a naked sword separated the bodies of the heroes before they became lovers , in the novel this is a deception).

To some extent, it is possible to justify the heroes, to prove that they are not at all to blame for their suddenly flared passion, they fell in love not because, say, he was attracted by Isolde’s “blond hair”, and she was attracted by Tristan’s “valor”, but because the heroes drank a love drink by mistake, intended for a completely different occasion. Thus, love passion is depicted in the novel as the result of an action dark force, which 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, making “The Romance of Tristan and Isolde” a fundamentally pre-courtly work in the sense that courtly love can be as dramatic as desired, but it is always joy. The love of Tristan and Isolde, on the contrary, brings them nothing but suffering.

“They languished apart, but suffered even more” when they were together. “Isolde became a queen and lives in grief,” writes the French scholar Bedier, who retold the novel in prose in the nineteenth century. “Isolde has passionate, tender love, and Tristan is with her whenever he wants, day and night.” Even while wandering in the forest of Morois, where the lovers were happier than in the luxurious castle of Tintagel, 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 whole series of his works that inspire heroism and risk in the name of love. His "Sonnets" are filled with tenderness, luxurious epithets and metaphors. The unifying feature of the artistic methods of Shakespeare's poetry is rightly called harmony. The impression of harmony comes from all of Shakespeare's poetic works.

The expressive means of Shakespeare's poetry are incredibly diverse. 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 his interpretation traditional stories. He used in his works the usual for Renaissance poetry poetic symbols. 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, 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 feminine beauty, they are filled with endless love and passion.

Undoubtedly, the best embodiment of love in a work can be called the play "Romeo and Juliet." Love triumphs in the play. The meeting of Romeo and Juliet transforms them both. They live for each other: "Romeo: My heaven is where Juliet is." It is not languid sadness, but living passion that inspires Romeo: “All day long some spirit carries me high above the earth in joyful dreams.” Love transformed their inner world and influenced their relationships with people. The feelings of Romeo and Juliet are severely tested. Despite the hatred between their families, they choose boundless love, merging in a single impulse, but individuality is preserved in each of them. The tragic death only adds to the special mood of the play. This work is an example of 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 tirades of poems about love and friendship, with the concept of honor and Motherland, images of Onegin and Tatyana, Masha and Grinev appear. Even the most strict reader will be able to discover something close to him in his works, because they are very multifaceted. Pushkin was a man who passionately responded 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 glorifier of this great noble feeling. In all of world literature you cannot find a more striking example of a special passion for this particular aspect of human relations. Obviously, the origins of this feeling lie in the very nature of the poet, responsive, able to reveal in each person the best properties of his soul. In 1818, at one of the dinner parties, the poet met 19-year-old Anna Petrovna Kern. Pushkin admired her radiant beauty and youth. Years later, Pushkin again met with Kern, as charming as before. Pushkin gave her a newly 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 peaks of Pushkin's lyrics. The poems captivate not only with the purity and passion of the feelings embodied in them, but also with their harmony. Love for a 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 based 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 limitless; he desires not a simple improvement in life, but the acquisition of complete bliss, a change in the imperfections of human nature, an absolute resolution of all the contradictions of life. Immortal life- the poet does not agree to anything less. However, love in Lermontov's works bears a tragic imprint. This was influenced by his only, unrequited love for his friend from his youth, Varenka Lopukhina. He considers love impossible and surrounds himself with a martyr's aura, 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 will never see Your gaze, your sweet gaze, so tender for others.”

Lermontov emphasizes his distance from everything worldly: “No matter what 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 highest ideals. In the poem “I will not humiliate myself before you,” he writes that inspiration for him is more valuable than unnecessary quick passions that can throw human soul into the abyss. Love in Lermontov's lyrics is fatal. He writes, “Inspiration saved me from petty vanities, but there is no salvation from my soul in happiness itself.” In Lermontov's poems, love is a high, poetic, bright feeling, but always unrequited or lost. In the poem "Valerik" the love part, which later became a romance, conveys the bitter feeling of losing contact with the beloved. “Is it crazy to wait for love in absentia? In our age, all feelings are only temporary, but I remember you,” the poet writes. The theme of betrayal of a beloved who is unworthy of a great feeling or who has not stood the test of time becomes traditional in Lermontov’s literary works related to his personal experience.

The discord between dream and reality penetrates this wonderful feeling; love does not bring joy to Lermontov, he receives only suffering and sadness: “I’m sad because I love you.” The poet is troubled by thoughts about the meaning of life. He is sad about the transience of life and wants 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 also 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 topic. The theme of love occupies perhaps the main place in Bunin’s work. In this topic, the writer has the opportunity to correlate what is happening in a person’s soul with the phenomena external life, with the demands of a society that is based on the relationship of buying and selling 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 physical side of love, touching with extraordinary tact the most intimate, hidden aspects of human relationships. Bunin was the first to dare to say that it is not necessary bodily passion follows a spiritual impulse, which happens in life and vice versa (as happened with the heroes of the story “Sunstroke”). And what plot moves no matter what the writer chooses, love is always in his works great joy and great disappointment, a deep and insoluble mystery, it is both spring and autumn in a person’s life.

IN different periods In his work, Bunin speaks about love with varying degrees of frankness. In his early works the heroes 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 characters' feelings are ambivalent, colored in halftones. And although Bunin talks about people who are alien to us in appearance, way of life, relationships, we immediately recognize and realize in a new way our own feelings 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 my beloved is completed by dreamy dreams (“In August”): “Through tears I looked into the distance, and somewhere I dreamed of sultry southern cities, a blue steppe evening and the image of some woman who merged with the girl I loved... ". The date is memorable because it testifies to a touch of genuine feeling: “Whether she was better than others whom I loved, I don’t know, but that night she was incomparable” (“In Autumn”). And in the story “Dawn All Night,” Bunin talks about the premonition of love, about the tenderness that a young girl is ready to give to her future lover. At the same time, it is common for youth not only to get carried away, but also to quickly become disappointed. Bunin's works show us this, for many, painful gap between dreams and reality. “After a night in the garden, full of nightingale whistles and spring trepidation, young Tata suddenly, through her sleep, hears her fiancé shooting jackdaws, and realizes that she does not at all love this rude and ordinary-down-to-earth man.”

Majority early stories Bunin tells about the desire for beauty and purity - this remains the main spiritual impulse of his characters. In the 20s, Bunin wrote about love, as if through the prism of past memories, peering into a bygone Russia and those people who no longer exist. This is exactly how we perceive the story “Mitya’s Love” (1924). In this story, the writer consistently shows spiritual formation hero, leads him from love to ruin. In the story, feelings and life are closely intertwined. Mitya’s love for Katya, his hopes, jealousy, vague forebodings seem to be shrouded in special sadness. Katya, dreaming of an artistic career, got caught up in the false life of the capital and cheated on Mitya. His torment, from which his connection with another woman, the beautiful but down-to-earth Alenka, could not save him, led Mitya to suicide. Mitya’s insecurity, openness, unpreparedness to confront harsh reality, and inability to suffer make us feel more acutely the inevitability and unacceptability of what happened.

In a number Bunin's stories love is described love triangle: husband - wife - lover ("Ida", "Caucasus", "The Fairest of the Sun"). An atmosphere of the inviolability of the established order reigns in these stories. Marriage turns out to be an insurmountable obstacle to achieving happiness. And often what is given to one is mercilessly taken away from another. In the story “Caucasus,” a woman leaves with her lover, knowing for sure that from the moment the train departs, hours of despair begin for her husband, that he will not be able to stand it and will rush after her. He is really looking for her, and not finding 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 the cycle of stories “Dark Alleys” closer to the prose of the 20-30s. These stories are narrated in the past tense. The author seems to be trying to penetrate into the depths of the subconscious world of his characters. In most of the stories, the author describes bodily pleasures, beautiful and poetic, born of 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 to the heroes of stories." Business Cards", "Dark Alleys", "Late Hour", "Tanya", "Rus", "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 truly golden at times, merges with the sounds, smells, colors of nature. As if nature itself leads to mental-physical rapprochement loving friend people's friend. 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 in the cycle, but the story written in 1944 " Clean Monday"is not just a story about great secret love and mysterious female soul, but some kind of cryptogram. Too much in the psychological line of the story and in its landscape and everyday details seems like an encrypted revelation. The accuracy and abundance of details are not just signs of the times, not just nostalgia for Moscow lost forever, but a contrast between East and West in the soul and appearance of the heroine, leaving love and life for a monastery.

3. The theme of love in literary works of the 20th century

The theme of love continues to be relevant in the 20th century, in the era of global catastrophes, political crisis, when humanity is trying to reshape its attitude towards universal human values. Writers of the 20th century often portray love as the last remaining moral category of a then destroyed world. In the novels of the writers of the “lost generation” (including Remarque and Hemingway), these feelings are the necessary incentive for the sake of which the hero tries to survive and live on. "Lost Generation" - a generation of people who survived the First World War and were left spiritually devastated.

These people refuse any ideological dogmas and search for the meaning of life in simple human relations. 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 relationships that arise between the heroes of the novel “Three Comrades”.

Hemingway’s hero in the novel “A Farewell to Arms” renounced military service, what is usually called a person’s moral obligation, renounced for the sake of a relationship with his beloved, and his position seems very convincing to the reader. Man of the 20th century is constantly faced with the possibility of the end of the world, with the expectation own death or the death of a loved one. Catherine, the heroine of the novel A Farewell to Arms, dies, just like Pat in Remarque's novel Three Comrades. The hero loses his sense of necessity, his 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 woman he loves. 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 20th century literature is its unbreakable bond with phenomena public life. The author's reflections on the existence of such concepts as love and friendship appear against the background of socio-political problems of that time and, in essence, are inseparable from thoughts about the fate of humanity in the 20th century.

In the works of Françoise 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 Parisian bohemians; 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 Sagan’s artistic world there is no place for strong and truly strong human attraction: this feeling must die as soon as it is born. It is replaced by something else - a feeling of disappointment and sadness.

love theme literature writer

Conclusion

Love is a high, pure, beautiful feeling that people have sung since ancient times, in all languages ​​of the world. They have written about love before, they are writing now and will continue to write in the future. No matter how different love is, this feeling is still wonderful. That’s why they write so much about love, write poems, and sing about love in songs. The creators of wonderful works can be listed endlessly, since each of us, whether he is a writer or an ordinary person, has experienced this feeling at least once in his life. Without love there will be no life on earth. And while reading works, we come across something sublime that helps us consider the world from the spiritual side. After all, with every hero we experience his love together.

Sometimes it seems that everything has been said about love in world literature. But love has thousands of shades, and each of its manifestations has its own holiness, its own sadness, its own fracture and its own fragrance.

List of sources used

1. Anikst A.A. Shakespeare's works. M.: Allegory, 2009 - 350 p.

2. Bunin, I.A. Collected works in 4 volumes. T.4/ I.A. Bunin. - M.: Pravda, 1988. - 558 p.

3. Volkov, A.V. Prose of Ivan Bunin / A.V. Volkov. - M.: Moscow. worker, 2008. - 548 p.

4. Civil Z.T. "From Shakespeare to Shaw"; English writers XVI-XX centuries Moscow, Education, 2011

5. Nikulin L.V. Kuprin // Nikulin L.V. Chekhov. Bunin. Kuprin: Literary portraits. - M.: 1999 - P.265 - 325.

6. Petrovsky M. Dictionary of literary terms. In 2 volumes. M.: Allegory, 2010

7. Smirnov A.A. "Shakespeare". Leningrad, Art, 2006

8. Teff N.A. Nostalgia: Stories; Memories. - L.: Fiction, 2011. - P.267 - 446.

9. Shugaev V.M. Experiences of a reading person / V.M. Shugaev. - M.: Sovremennik, 2010. - 319 p.

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The existing models of love in psychology differ sharply in one more, evaluative, parameter.

The models of the first group can include, for example, the theory of L. Kasler. He believes that there are three reasons that make one person fall in love with another. A person in love is extremely ambivalent towards the object of his love. He simultaneously experiences positive feelings towards him, for example, gratitude as a source of vital benefits (primarily psychological), and negative ones - he hates him as someone who has power over him and can stop reinforcement at any time. Really free man, according to L. Kasler, this is a person who does not experience love.

The general logic of such a pessimistic view also corresponds to some empirical data indicating the conservatism of interpersonal attraction (its occurrence in accordance with the principle of similarity, etc.).

However, as has already been shown, in some situations attraction can play not only a conservative, but also a constructive role, helping to expand a person’s knowledge about the world. This suggests that the highest form of interpersonal attraction, love, can be described in a more optimistic spirit. An example is the theory of A. Maslow. The love of a mentally healthy person is characterized, according to A. Maslow, primarily by the relief of anxiety, a feeling of complete security and psychological comfort. It has nothing to do with the initial hostility between the sexes (Maslow generally considers this to be false). He built his model on empirical material - an analysis of the relationships of several dozen people selected according to the criterion of proximity to the level of self-actualization. The obvious and deliberate violation of representativeness is justified here by the fact that the author’s task was to describe not a statistical norm, but a norm of possibility.

Love in the description of A. Maslow differs sharply from those phenomena that other researchers observe, using the same name. Thus, from his point of view and according to his data, satisfaction with the psychological and sexual side of relationships among members of a couple does not decrease as usual over the years, but increases. In general, an increase in the length of time partners have known each other is associated with an increase in satisfaction. Partners experience a constant and growing interest in each other, interest in each other's affairs, etc. They know each other very well, in their relationship there are practically no elements of distortion of perception characteristic of romantic love. They manage to combine a sober assessment of another, awareness of his shortcomings with complete acceptance of him for who he is, which is the main factor providing psychological comfort. They often loved and found themselves in love at the time of the examination. They are not shy about their feelings, but at the same time they relatively rarely use the word love to describe relationships (apparently, this is due to high criteria in interpersonal relationships). Sexual relationships give A. Maslow's subjects very great satisfaction, and they are always associated with close emotional contact. In the absence of psychological intimacy, they do not enter into sexual relations. It is interesting that, although sex plays a big role in the relationships of the couples examined by A. Maslow, they easily experience frustration of sexual need. The relationships of these people are truly equal; they have no division into male and female. female roles, there are no double standards or other prejudices. They remain faithful to each other, which is manifested both in everyday life, for example, in the absence of adultery, and during periods of difficulties and illnesses. According to A. Maslow, the disease of one becomes the disease of both.

The situation described by A. Maslow can be an illustration of one important feature of love, which, ideally, should always be present in a love relationship. In fact, stable long-term love is always love despite the shortcomings, imperfections of the partner, as if in spite of them. Long-term and close communication does not give a person the opportunity not to see the negative qualities of a partner - according to ordinary logic, which deduces love and sympathy from the presence of extraordinary merits in the object, this makes love impossible. The ability to accept others, characteristic of mentally healthy people, allows them to maintain a feeling of love, despite the awareness of each other’s objective imperfections.

Chapter from the book by V.M. Rosin "LOVE AND SEXUALITY IN CULTURE, FAMILY AND VIEWS ON SEX EDUCATION." The book is in our “Love, family, sex and about...”.

Not long ago I reread “Doctor Zhivago” by B. Pasternak and thought about it. I hope everyone remembers that there are two main female characters in the novel - Tony, the doctor's wife, and Larisa. And here’s what’s interesting: Tony’s image is suspiciously positive through and through. Tonya selflessly and hopelessly loves her husband; she is ready, respecting his sublime feelings, even to step aside and give him up to Larisa. Her fate is tragic. Circumstances of the revolutionary time force her and her family to leave Russia and separate from her husband. Zhivago’s attitude towards Tonya is not love. Duty, conscience, respect, pity - anything but love. And Tonya herself understands this. Why, one might ask, not love Tonya? If you follow reason, then you should love her, she is so positive. But Zhivago loves - passionately, deeply, directly - Larisa. Larisa, in her own words, is “broken, with a crack for life”; she is spiritually enslaved by Komarovsky and leaves with him at a tragic moment for Zhivago. Meanwhile, the best pages of the novel are dedicated to Larisa, her image is painted in the most delicate colors, with great feeling and tact: this is not an earthly woman, but an ideal, beauty and love itself, as the poet understood them, living in an alarming and tragic time. Remember the thoughts about Lara being captured by Zhivago:

Oh, how he loved her! How good she was! Just the way he always thought and dreamed, just the way he needed it! But with what, which side? Something that could be named and highlighted in analysis. Oh no, oh no! But with that incomparably simple and swift line with which all of it in one fell swoop was circled from top to bottom by the Creator, and in this divine outline it was handed over to the arms of his soul, as a bathed child is wrapped in a tightly draped sheet.

Larisa’s reciprocal feelings are no less deep and beautiful. The gift of love is like any other gift. He may be great, but without blessing he will not manifest. And we were definitely taught to kiss in heaven and then sent as children to live at the same time in order to test this ability on each other. Some kind of crown of compatibility, no sides, no degrees, neither high nor low, the equivalence of the whole being, everything brings joy, everything has become a soul.

However, there is something strange here too. Larisa begins life losing her virginity as a high school student; she lives with Komarovsky, and she is flattered that a handsome, graying man old enough to be her father, who is applauded in meetings and written about in newspapers, spends money and time on her, calls her a deity, takes her to theaters and concerts and, as they say, “mentally develops” her. Then she finds the strength to leave Komarovsky. A few years later he shoots him... Finally, complete freedom. Larisa marries Pasha. She studies, works, goes to the front, works in a hospital. Meeting with Zhivago. Larisa fell in love with him, but they break up. There is a civil war going on. Larisa works as a teacher, helps people, saves many... And here is another meeting with Zhivago. They open up to each other. Their life together is tragic (threat of arrest) and beautiful. But Komarovsky appears and takes Larisa away - obviously by deception, taking advantage of the danger hanging over Zhivago and his confusion, but still with her consent.

How can one explain why Zhivago loves Larisa and does not love his such a positive wife Tonya, and why Larisa, a woman of a beautiful soul, a clear mind, loving Zhivago, again goes to Komarovsky and even lives with him for some time? Well, the reader may say, it’s an everyday matter. Why we don’t love a woman is always clear, but why we love her is never clear. As for Larisa, Zhivago himself once said to her, referring to Komarovsky: “Do you know yourself so well? Human nature, especially female nature, is so dark and contradictory. In some corner of your disgust, perhaps, you are more subservient to him than to anyone else whom you love of your own free will, without coercion.”

And yet questions remain. The opposition between Tonya and Larisa can be understood by remembering how many writers of the last century resolved the issue of family and romantic love. Let's take, for example, “Eugene Onegin” or “Dubrovsky”. Pushkin believes: love is one thing, but marriage and family are another. Romantic love, love-passion, love-attraction, deification of the beloved did not coincide with ideas about marital relationships. Behind marital relationships were spiritual and religious principles, and behind romantic love - impulse, creative ecstasy, genius, nature. The common opinion about the incompatibility of love and marriage, which gained particular popularity on the eve of the New Age, writes R. Shapinskaya, in the era of the formation of a new attitude to power - legitimation, was formulated by M. Montaigne: “A successful marriage, if it exists at all, rejects love and everything to it.” accompanying: he tries to compensate for it with friendship.” The law of sociality reformulates the Christian formula, replacing spiritual categories (love, mercy, etc.) with economic categories (reliability, strength, support). The reason for the impossibility of maintaining love in marriage is, according to S. de Beauvoir, that the spouse loses her erotic attractiveness. In marriage, a “trap” is committed - “although by assumption he socializes eroticism, he only succeeds in killing it.” And a little higher, Shapinskaya notes: “In traditional Russian culture, “marriage for love” is embodied only in romantic discourse or “scandalous” stories (unless, of course, you count romanticized “arranged” marriages). A love marriage that did not receive the approval of the “elders” could bring nothing but misfortune.”

A.I. Goncharov in the novel “The Precipice” solves the dilemma of love and marriage in the same way as Alexander Sergeevich, and Stendhal in “Red and Black”, and Tolstoy in “Anna Karenina”. Tolstoy wrote that he often thought about falling in love and could not find a place or meaning for it. And this place and meaning are very clear and definite: to ease the struggle of lust with chastity. Falling in love, the great writer argued, should precede marriage in young men who cannot withstand complete chastity. This is where love comes in. When it bursts into people's lives after marriage, it is inappropriate and disgusting.

These writers bred in different sides romantic love and marital relationships, argued that they are incompatible. For the latter, completely different words were used: spouse, friend, husband, wife, comrades (by life path) etc. If you happen to walk along the alleys of the Donskoy Monastery in Moscow, pay attention to the epitaphs on the gravestones of the 18th and 19th centuries. Inscriptions like: “To my wife and friend” are common, but I also remember this wonderful epitaph:

Tender wife and true friend,
A mother who dedicated her life for her children,
Left the light in the blooming years,
Mourned by her husband and seven children.

Obviously, Boris Pasternak proceeds from the same models of love and marriage: he loves Zhivago Larisa, but he regrets and considers Tonya his wife. That’s why there is no happiness for him and Larisa, but only delight and suffering, coincidences and pain.

So, in Russian and not only Russian literature of the 19th century, a model developed that separated romantic love from marriage. True, already in the middle of this century another model began to take shape, so to speak, civil marriage. What is characteristic of her? Weakening of the religious principle, respect for the personality of the spouses, ideas of cooperation and emancipation. Disillusioned with the ideals of romantic love, N.P. Ogarev writes to his future, second wife Natalie Tuchkova: “I think the only woman with whom I could live under the same roof is you, because we have the same respect for other people’s freedom, respect for any reasonable egoism, and not at all this unpleasant pettiness that burdens a person with worries and his subsequent attachment, which tries to take possession of his entire being, without any respect for the human person.” Natalie Tuchkova completely shared Ogarev’s views, but we know how it all ended: after living with Ogarev for seven years in complete agreement and understanding, she fell in love with Herzen and went to him.

Ogarev’s third wife, Mary (formerly a London woman of easy virtue), with whom he lived for 18 years in peace and harmony until his death, did not even understand Russian, much less his poetry or political activity. But she loved him, adored him, created all the conditions for him to normal life and work, i.e. she was just a wife. “Mary Sutherland,” writes Lydia Lebedinskaya in the story about Ogarev, idolized him without understanding him. And over the years, Ogarev began to think that it was probably natural, if so, and no longer tried to explain anything. However, Mary didn’t need this. Everything that her husband did was obviously presented to her in an aura of immutable justice and rightness.”

Isn’t it a curious evolution: starting with romantic love, the attraction of the heart, passion, Ogarev comes to the idea of ​​​​subordinating love to reason, in order to eventually calm down in an almost pagan understanding of love. Of course, anything can happen in life, but it is unlikely that Natalie would have left her husband if she understood marriage the same way as Tatyana Larina.

I love you (why lie?), But I am given to someone else; I will be faithful to him forever.

The model of civil marriage in terms of values ​​develops in the 19th century in two directions: towards the bourgeois ideal of the family and towards the revolutionary-democratic one. The first ideal finds its expression in the American model of cyclical marriage (T. Dreiser, R. Kent, E. Hemingway), the second - in the model of communist marriage. In both cases, love (close to romantic) is assumed, and the family is built precisely on its basis. Dreiser's hero, financier Frank Cowperwood, as you remember, each time passionately and deeply loves his next chosen one. He leaves one family and creates a new one; the family left behind receives a certain allowance. The wife in the American marriage model not only runs the household, the house, and raises children, she is the beloved woman. She has both rights and independence. But if the love ends or the contractual relationship is broken, the marriage breaks up.

In the communist model of marriage, in place of legal and economic relations there are cooperation, consciousness, morality, morality. The family life of K. Marx is an unattainable example in this regard: passionate, romantic love to Jenny von Westphalen, carried throughout her life, a large family, mutual assistance and cooperation of spouses, unity of views and ideals. This model assumes that the family is built not only on love, but also on conscious humanistic and even communist principles. Another question is to what extent such a model of marriage could be implemented in practice. Our parents sometimes succeeded in this, but today they succeed only as an exception. It is clear that the communist model of marriage allows for divorce and the formation of a new family.

The theme of love in Russian literature is one of the main ones. A poet or prose writer reveals to his reader the yearnings of the soul, experiences, suffering. And she was always in demand. Indeed, one may not understand the theme of the author’s attitude towards own creativity, aspects of philosophical prose, but the words of love in literature are pronounced so clearly that they can be used in various life situations. In what works is the theme of love most clearly reflected? What are the characteristics of the authors’ perception of this feeling? Our article will talk about this.

The place of love in Russian literature

Love in fiction has always existed. If we talk about domestic works, then Peter and Fevronia of Murom from the story of the same name by Ermolai-Erasmus, relating to ancient Russian literature. Let us remember that other topics then, besides Christian ones, were taboo. This art form was strictly religious.

The theme of love in Russian literature arose in the 18th century. The impetus for its development was Trediakovsky’s translations of works foreign authors, because in Europe they were already writing with all their might about the wonderful feeling of love and the relationship between a man and a woman. Next were Lomonosov, Derzhavin, Zhukovsky, Karamzin.

The theme of love in works of Russian literature reached its special peak in the 19th century. This era gave the world Pushkin, Lermontov, Tolstoy, Turgenev and many other luminaries. Each writer had his own, purely personal attitude to the topic of love, which can be read through the lines of his work.

Pushkin's love lyrics: innovation of a genius

The theme of love in Russian literature of the 19th century reached special heights in the works of A. Pushkin. His lyrics glorifying this bright feeling are rich, multifaceted and contain a whole series of features. Let's sort them out.

Love as a reflection of personal qualities in "Eugene Onegin"

“Eugene Onegin” is a work where the theme of love in Russian literature sounds especially expressive. It shows not just a feeling, but its evolution throughout life. In addition, the main images of the novel are revealed through love.

At the center of the story is the hero whose name is in the title. The reader is forced throughout the novel to be tormented by the question: is Eugene capable of love? Brought up in the spirit of the morals of high society metropolitan society, he is devoid of sincerity in his feelings. Being in a “spiritual dead end,” he meets Tatyana Larina, who, unlike him, knows how to love sincerely and selflessly.

Tatiana writes to Onegin love letter, he is touched by this girl’s act, but no more. Disappointed, Larina agrees to marry someone she doesn’t love and leaves for St. Petersburg.

The last meeting of Onegin and Tatyana happens after several years. Eugene confesses his love to the young woman, but she rejects him. The woman admits that she still loves, but is bound by the obligations of marriage.

Thus, main character Pushkin's novel fails the exam with love, he was frightened by the all-consuming feeling and rejected it. The epiphany came too late.

Lyubov Lermontova - an unattainable ideal

Love for a woman was different for M. Lermontov. For him, this is a feeling that completely absorbs a person, it is a force that nothing can defeat. According to Lermontov, love is something that will definitely make a person suffer: “Everyone cried who loved.”

These lyrics are inextricably linked with the women in the life of the poet himself. Katerina Sushkova is a girl with whom Lermontov fell in love at the age of 16. The poems dedicated to her are emotional, talking about unrequited feelings, the desire to find not only a woman, but also a friend.

Natalya Ivanova, the next woman in Lermontov’s life, reciprocated his feelings. On the one hand, there is more happiness in the poems of this period, but even here there are notes of deception. Natalya in many ways does not understand the poet’s deep spiritual organization. There have also been changes in the themes of such works: now they are focused on feelings and passions.

The relationship with Love is reflected in a completely different way; the poet’s entire being is permeated here; nature, even the Motherland, speaks about it.

Love becomes a prayer in poems dedicated to Maria Shcherbatova. Only 3 works were written, but each of them is a masterpiece, a hymn of love. According to Lermontov, he has found the very woman who understands him completely. Love in these poems is contradictory: it can heal, but also wound, execute and bring back to life.

The hard path to happiness of the heroes of Tolstoy's War and Peace

Considering how love is presented in fiction, one should pay attention to the work of L. Tolstoy. His epic “War and Peace” is a work where love touched each of the heroes in one way or another. After all, the “family thought,” which occupies a central place in the novel, is inextricably linked with love.

Each of the characters goes through a difficult path, but in the end finds family happiness. There are exceptions: Tolstoy puts a kind of equal sign between a person’s ability to love unselfishly and his moral purity. But this quality must also be achieved through a series of sufferings and mistakes, which will ultimately purify the soul and make it crystalline, capable of love.

Let us remember the difficult path to happiness of Andrei Bolkonsky. Captivated by Lisa's beauty, he marries her, but quickly loses interest and becomes disillusioned with the marriage. He understands that he chose an empty and spoiled wife. Next comes war, and the oak tree is a symbol of spiritual blossoming and life. Love for Natasha Rostova is what gave Prince Bolkonsky a breath of fresh air.

Test of love in the works of I. S. Turgenev

Images of love in the literature of the 19th century are also the heroes of Turgenev. The author of each of them goes through the test of this feeling.

The only one who passes it is Arkady Bazarov from Fathers and Sons. Maybe that's why he is Turgenev's ideal hero.

A nihilist who denies everything around him, Bazarov calls love “nonsense”; for him it is only an illness from which one can be cured. However, having met Anna Odintsova and fallen in love with her, he changes not only his attitude towards this feeling, but his worldview as a whole.

Bazarov confesses his love to Anna Sergeevna, but she rejects him. The girl is not ready for a serious relationship, she cannot deny herself for the sake of another, even a loved one. Here she fails in Turgenev's test. And Bazarov is the winner, he became the hero that the writer was looking for for himself in “The Noble Nest”, “Rudin”, “Ace” and other works.

"The Master and Margarita" - a mystical love story

The theme of love in Russian literature of the 20th century is growing and developing, becoming stronger. Not a single writer or poet of this era avoided this topic. Yes, it could transform, for example, into love for people (remember Gorky’s Danko) or the Motherland (this is, perhaps, most of creativity of Mayakovsky or works of the war years). But there is exceptional literature about love: these are the heartfelt poems of S. Yesenin, poets Silver Age. If we talk about prose, this is primarily “The Master and Margarita” by M. Bulgakov.

The love that arises between the heroes is sudden, it “jumps out” out of nowhere. The master draws attention to Margarita’s eyes, so sad and lonely.

Lovers do not experience all-consuming passion; rather, on the contrary, it is quiet, calm, homely happiness.

However, at the most critical moment, only love helps Margarita save the Master and their feelings, even if not in the human world.

Yesenin's love lyrics

The theme of love in Russian literature of the 20th century is also poetry. Let us consider the work of S. Yesenin in this vein. The poet inextricably linked this bright feeling with nature; his love is extremely chaste and strongly tied to the biography of the poet himself. A striking example- poem “Green Hairstyle”. Here, all the features of L. Kashina that are dear to Yesenin (the work is dedicated to her) are presented through the beauty of the Russian birch tree: a thin figure, braided branches.

“Moscow tavern” reveals to us a completely different love, now it is “infection” and “plague”. Such images are associated, first of all, with the emotional experiences of the poet, who feels useless.

Healing comes in the series “Love of a Bully.” The culprit is A. Miklashevskaya, who cured Yesenin from torment. He again believed that there is true love, inspiring and reviving.

In his last poems, Yesenin condemns the deceit and insincerity of women; he believes that this feeling should be deeply sincere and life-affirming, giving a person ground under his feet. Such, for example, is the poem “Leaves are falling, leaves are falling...”.

about love

The theme of love in Russian literature of the Silver Age is the work of not only S. Yesenin, but also A. Akhmatova, M. Tsvetaeva, A. Blok, O. Mandelstam and many others. All of them have one thing in common, and suffering and happiness are the main companions of the muses of poets and poetesses.

Examples of love in Russian literature of the 20th century are the great A. Akhmatova and M. Tsvetaeva. The latter is a “quivering doe,” sensual, vulnerable. Love for her is the meaning of life, what makes her not only create, but also exist in this world. “I like that you are not sick with me” is her masterpiece, full of bright sadness and contradictions. And that’s what Tsvetaeva is all about. The poem “Yesterday I looked into your eyes” is imbued with the same soulful lyricism. This is, perhaps, a kind of anthem for all women who fall out of love: “My dear, what have I done to you?”

A completely different theme of love in Russian literature is depicted by A. Akhmatova. This is the intensity of all human feelings and thoughts. Akhmatova herself gave this feeling a definition - “the fifth season.” But if it had not been there, the other four would not have been visible. The poetess's love is loud, all-affirming, returning to natural principles.

TYPES OF LOVE IN FICTION

Target: Show the versatility and immeasurability of love in all its forms and manifestations; show what different kinds love are found in literature.

Tasks: 1) Teach to distinguish types of love, easily find them in the text;

2) Develop a sense of beauty, creative thinking;

3) Cultivate a love for literature, parents, and surrounding people. Develop an understanding of “true” love.

Equipment: presentation, multimedia projector, computer.

Form of work: conversation

Progress

“When two people do the same thing, they don’t end up with the same thing.”
Terence

“Love cannot rule over people, but it can change them.”

Goethe

Love in its various manifestations has been the most common theme in works of art throughout human history. Let's try to illustrate the types of love using an example for everyone famous personalities and literary heroes.

Video 1. Types of love. (1:23)

LOVE-EROS.

Eros (ancient Greek ἔρως) - this is spontaneous, enthusiastic love, physical and spiritual passion. This is a passion more for oneself than for another, directed towards the object of love “from the bottom up” and leaving no room for pity or condescension. Her spirituality is quite superficial and illusory.

Shakespeare's Romeo and Juliet is love and passion.

This is a romantic feeling that can burn long and brightly, but can go out without a trace from one harsh word or shocking deed. Some are able to experience this feeling once in their entire life, some - several times. But it always happens spontaneously, swoops in like a hurricane and intoxicates a person. There is no drama in this love, it is like a holiday that is awaited with joy and parted with without regrets. This love cannot exist for long without reciprocity; it gives as much as it takes. She craves fullness of feelings and a combination of attractions of the mind, soul and body, but without erotic harmony for her everything else can lose meaning.

The love of Aksinya and Grigory Melekhov in Sholokhov’s novel “Quiet Don” was passionate and sensual. It burned violently, softening Gregory’s harsh character and releasing the restrained passion of his nature. But, if not for the accident that cut short their love, it is unlikely that this romantic feeling would have been durable.

Knowing the type of relationship of this couple, and this is the “Superego” relationship, you can try to model their further development. On the one hand, love satiety could set in, on the other, emotional overstrain, and as a result, mutual cooling, which is very destructive for this love.

E. Asadov showed what the actions of eros love can lead to. Let's listen to the poem "Lyalka".

Oh, what envy has done!

Killed, drove me crazy,

She brought suffering to the girls!

Here, listen, there is one true story.

Well, where to start? That's it, perhaps!

A girl entered the class - a beginner.

Brown hair was combed smoothly,

The smile never left my face.

All the guys, of course, stood up

And the director interrupted the lesson.

Immediately the news spread throughout the school.

Oh, beauty, what an angel!

And I have to confess to you, girls

I haven't seen one like this yet.

Blue eyes blinked

It was as if spring was emerging within them.

The whole school fell in love with the girl.

She was not proud of her beauty.

Her name was Lyalka, they just called her a doll.

Seryozhka was the chieftain in the class.

He was also famous for his beauty,

And the girls just clung to him,

He was just thinking about someone else.

The girls understood all this.

I decided to take revenge alone

And around school instantly

Slander flashed at the guys.

Lyalka! Lyalka! Cause you don't know

What they say about you.

And only one did not believe Seryozha.

Suddenly he stood up and shouted “Silence.

After all, all this is not true, not true!

Someone made a mean joke on her!

I'll find out the truth anyway

And then don’t expect any mercy!”

And here she is, not knowing anything,

She calmly entered the class.

As always, your face is smiling

And a blush plays in the cheeks.

Suddenly Seryozha quickly approaches her

And he says to her seriously:

“Listen, Lyalka, just don’t laugh.

It's right? Read the note."

Did she care then?

The eyes ran over the sheet of paper.

She smiled at him

But suddenly she closed her eyes:

"People! People! Why are you so strict?

People! People! Why are you doing this?”

And she rushed out of the classroom,

Flashed through the school doors.

School, yard, road, car...

But she doesn't see anything.

Tears! Everything is covered with tears. Collapse!

Next to her is him, Seryozha.

She ran along the road.

The brakes suddenly squealed.

Lyalka lay under the wheels,

Closing my eyes in pain.

“Lyalka, Lyalka, Lyalka.

Do you hear, don’t you dare, wait!”

Tears flow from the ataman's eyes.

Heart! The heart beats in a hot chest,

But Lyalka lies motionless

And the eyelashes stuck together in the blood.

And the girl hears only one thing:

“Lyalka, do you hear, don’t you dare, wait!”

And at the last minute in life

Suddenly she said heavily:

“I love only you alone.”

Lyalka was lying on the road.

Next to her lay the ataman,

And people stood around them.

Everyone understood this without words.

Who showed love-eros in this poem? (The girl who was jealous)

LOVE-MANIA.

Eros borders on love. The feeling is blind, romantic, very emotional, enslaving both the lover and the one to whom it is directed. It gives rise to most tragedies.

“Mania” (from the Greek “mania” is a painful passion) is love-obsession, the basis of which is passion and jealousy. The ancient Greeks called mania "madness of the gods."

Such is the love of Anna Karenina and Vronsky. Their stormy, all-consuming and dramatic feelings, which they showed for each other and for which they made any sacrifices, did not stand the test of time. Vronsky and Anna eventually grew tired of the stormy emotions that initially attracted both of them so much with their high intensity. During the breakup, Anna lost much more than Vronsky, since she put everything on the line: family, child, position in society. Having lost everything and received nothing in return except the collapse of illusions, Anna Karenina committed suicide. Love subjugated her and destroyed her.

Exactly the same outcome befell the hero famous story Kuprin “Garnet Bracelet”, belonging to the same type of personality, who also put everything on the line for the sake of his love, even committed a crime - embezzlement of public money in order to give a gift to his beloved woman. Without reciprocity on her part, life lost its meaning for him, and he decided to commit suicide.

As a result of such super-value love, Shakespeare's heroes Romeo and Juliet died. More often, love-mania takes this outcome in combination with idealistic Agape.

Let's see what a guy's attitude towards a girl should be.

Video 2. Hit her. (3:20)

LOVE-PHILIA.

Philia (ancient Greek φιλία) - love-friendship, a calmer feeling. This is a deep spiritual closeness that is built on a common interest or service common goal. It is determined by social connections and personal choice. It was philia in Plato’s teaching about love that was elevated to the highest level.

For example,Antoine de Saint Exupery "The Little Prince" is friendship Little Prince and the Fox, the friendship of the Little Prince and the rose. Tolstoy's Lion and Dog. They were such great friends that the lion could not come to terms with the loss of his girlfriend.They devoted themselves entirely to each other and found in each other everything they needed for happiness. Their relationship was full of respect and constant interest in each other.

For me, the real example of friendship is the magnificent four, A. Dumas. Athos, Porthos, Aramis and D'Artagnan. An example of real men, ready not only to save each other’s lives, but also to defend the honor of a woman.

Check out another example of friendship:

Video 3. Good returns. (2:31)

LOVE-STORGE.

This is a love full of delicacy and tact, prone to constancy and compromise in order to maintain harmony in the relationship. The ideal form of family love, based on the ability to maintain calm for a long time friendly relations, full of tenderness and simple, deeply human love for a partner, full of sympathy and condescension for shortcomings. This love is liberating, when everyone can be themselves, both soul and body; when they love a person simply for who they are. The only thing she does not forgive is rudeness, selfishness, pretense and insincerity, which are contrary to her very essence. The most valuable thing about her is attention to each other even in small things.

Storge (ancient Greek στοργή) - love-tenderness, family love, full of soft attention to your beloved. Tender family love turns into habit love over the years. Pushkin wrote about it: “the habit was given to us from above, it is a substitute for happiness.”

The most outstanding literary example of love as a habit is “ Old world landowners» Gogol. This story, which I consider Gogol's best, is simply the embodiment of Pushkin's immortal phrase. Old-world landowners - Pulcheria Ivanovna and Afanasy Ivanovich. They found their happiness, since both met the high moral requirements of love - Storge: fidelity, tact, mutual care, courtesy. Their relationship is simple and natural, without the elements of play and pathos inherent in the Manilov couple.

Natasha Rostova’s love-Storge is vividly depicted in L. Tolstoy’s novel “War and Peace.” In this example we are talking about dual love. The authority of Natasha (presumably a Politician type) and the possessive side of her love were manifested in selfless love for her husband, who completely submitted to her soft power. Pierre's love is complemented by his sublime sacrifice and gratitude for the stability of family happiness.

This type of love occurs not only between husband and wife, but also between parents and children. In the video we will see the manifestation of exactly this love:

Video 4. Best son. (3:26)

LOVE-AGAPE.

Agape (ancient Greek ἀγάπη) -spiritual love. She is full of sacrifice and self-denial. This is love for another and for the sake of another. The most sublime, beautiful, spiritual, idealistic feeling, for which time and distance are not afraid. The sensual side of life can be sacrificed to a distant ideal. Even when people are together, the most important thing for them is spiritual closeness, poetic consonance of thoughts and feelings. At the same time, commonality of activities and hobbies is not as important as similarity in views on life. This love is patient; she is able to wait for reciprocity for a long time and believe in it even with minimal chances.

Russians literary heroines very often they get stuck in Agape. And Russian men really like it when they are loved selflessly. World religions call this love the highest of human earthly feelings. Jesus naturally loves all people with an Agape love.

A grotesque image of this love was created by N. Gogol in the novel “Dead Souls” - these are the Manilovs. They concentrated all their diplomatic skill and sacrifice of Agape love on each other. Their mutual idealism and ability to build castles in the air did not change them even in old age.

In the poem "Dead Souls" the landowner Manilov is an exemplary family man and loving father. He is happily married and loves his wife dearly. Manilov is also the father of two small children. In general, a touching atmosphere of love and tenderness reigns in the Manilov family.

So, the characteristics of the Manilov family, as well as a description of his wife and children:

Members of the Manilov family are: wife Elizaveta (“Lizaanka”), eldest son, younger son. The Manilovs’ home teacher, who teaches their two sons, can also be considered a member of the family.

Manilov and his wife have a very warm and tender relationship, despite the fact that they have been married for 8 years. Manilov's wife is a pleasant, hospitable and educated woman. Unfortunately, Manilov’s wife does not take care of the farm and the peasants, but no one in the house complains about this. “Lisanka” is so sublime that she is not interested in earthly affairs.

So, quotation description Manilov's wife in "Dead Souls":

“... Let me introduce you to my wife [...] Darling!...”

“... Lizanka...” “... She was not bad-looking, she was dressed to her liking. A pale silk cloth hood fitted her well; Her thin small hand hurriedly threw something on the table and clutched a cambric handkerchief with embroidered corners. [...] Manilova spoke, even lisping somewhat..." "... His wife... however, they were completely satisfied with each other. Despite the fact that more than eight years of their marriage had passed, each of them still brought the other either a piece of apple, or candy, or a nut and spoke in a touchingly tender voice, expressing perfect love [...] Surprises were prepared for the birthday: what Some beaded case for a toothpick. And quite often, sitting on the sofa, suddenly [...] they impressed each other with such a languid and long kiss [...] In a word, they were, as they say, happy..." "... why is it quite empty in pantry? [...] But all these are low things, and Manilova was brought up well...” (Manilov’s wife did not do housework) “... The hostess very often turned to Chichikov with the words: “You don’t eat anything, you took very little.” ..." (about the hospitality of Manilov's wife)

As mentioned earlier, world religions attribute the love of God to Agape.

God loves without any conditions or “ifs.” This is Agape love (ἀγάπη). The Bible says that God is love: Beloved! let us love one another, because love is from God, and everyone who loves is born of God and knows God. He who does not love has not known God, becauseGod is love . God's love for us was revealed in the fact that God sent His only begotten Son into the world so that we could receive life through Him. This is love, that we did not love God, but He loved us and sent His Son to be the propitiation for our sins. Beloved! if God loved us so much, then we should love each other. No one has ever seen God. If we love each other, then God abides in us, and His love is perfect in us.(1John 4:7-12).

The Apostle Paul in the first letter to the Corinthians in the thirteenth chapter reveals the properties of Divine love:Love is patient, merciful, love does not envy, love is not arrogant, is not proud, is not rude, does not seek its own, is not irritated, does not think evil, does not rejoice in unrighteousness, but rejoices with the truth; covers all things, believes all things, hopes all things, endures all things. Love never ends.

Agape love is willing to sacrifice everything for the good of another. Please note, this is not the selfish sacrifice inherent in love-mania! This is absolutely sincere love, from the bottom of my heart. Watch the video:

Video 5. Turquoise beads. (2:36)

CONCLUSION:

There are many types of love that can be distinguished. But the most important type in which love brings happiness is Agape love. I wish all of you that real, sincere Love burns in your hearts, which will manifest itself in all areas of your life: family, friends, personal relationships.

Pay attention to the words of instruction and encouragement that are left in the Bible, the centuries-old book of Wisdom:

12. This is My commandment, that you love one another, as I have loved you.

13. Greater love has no one than this, that someone lay down his life for his friends.

14. You are My friends if you do what I command you.

(Holy Gospel of John 15:12-14)

17. This I command you, that you love one another.

(Holy Gospel of John 15:17)

And of course from the literature: Video 6. Love and Cowardice (2:47)

Eduard ASADOV - LOVE AND COWARDNESS

Why is love so often fragile?

Dissimilarity of characters? Someone's narrowness?

It is impossible to list all the reasons exactly,

But the main thing, perhaps, is cowardice.

Yes, yes, not discord, not lack of passion,

Namely, cowardice is the root cause.

She is the same mine

What most often undermines happiness.

It’s not true that sometimes we ourselves

We do not know the qualities of our soul.

Why should we lie to ourselves?

Fundamentally we know both,

When we are bad and when we are good.

While a person does not know shocks,

It doesn't matter - good or bad,

In life he usually allows himself

To be who he is. Yourself.

But the hour has come - a man falls in love

No, no, he won’t refuse in any way.

He is happy. He passionately wants to be liked.

This is where, mind you, it appears

Cowardice is a two-faced and silent enemy.

Worried, afraid for the outcome of love

And as if trying to dress up,

He tries to hide his shortcomings,

She is trying to hide her shortcomings.

So that, liking to be the best, the first,

To somehow “touch up” your character,

The stingy become generous for a time,

Those who are unfaithful are immediately terribly faithful.

And liars stand up for the truth.

Trying to make the star shine brighter,

The lovers seemed to stand on tiptoes

And they seem to have become more beautiful and better.

"You like?" - "Certainly!"

"And you me?" - "Yes!"

That's all. Now they are husband and wife.

How long can you stand on tiptoe?!

This is where the silence breaks...

Now that the days have become family,

There is no point in playing some kind of hide and seek.

And flaws come to light like devils,

Well, where exactly were they?

Oh, if only I could love without hiding anything,

Remaining myself all my life,

Then I wouldn’t have to say with sadness:

“I didn’t even think you were like that!”

“I didn’t even know you were like that!”

And maybe happiness will come in full,

There is no need to double your soul.

After all, courage is probably needed in love

No less than in space or in battle!

ADDITIONALLY:

LOVE IS PRAGMA.

It is commonly called rational love. This is a logical form of love that cannot arise spontaneously, be too sensual or spiritual. Moreover, if it contradicts common sense and carries destructive tendencies, a person quickly recovers from it. As a rule, the one who expresses Pragma love is not inclined to remember, worry and analyze his failure for a long time. What is not rational is discarded.

Thus, Pierre Bezukhov, in his first marriage to the beautiful Helen Kuragina, having not met reciprocity on her part, quickly lost interest and easily crossed her out of his heart. Avoiding gossip in society, he maintained the appearance of this marriage for a long time, without trying to dissolve it. At the same time, he gave his wife freedom in choosing activities and entertainment. At the same time, Pierre was not worried about her betrayal. It was as if she didn’t exist for him.

Love-Pragma is not necessarily a marriage of convenience, especially material. It’s just a choice, or more precisely, the ability to get along with a partner who meets not the abstract, but the completely everyday requirements of a normal life. family life- calm and well-adjusted in everyday life. Otherwise, disappointment and cooling sets in. A person with this form of love needs constancy in relationships and stability. Suitable partner becomes his favorite acquisition, which he takes care of like a good owner.

Such is the love of Nikolai Rostov from L.N. Tolstoy. He portrayed her well and Somerset Maugham in the novel “Theater” using the example of a dual couple - actress Julia and her husband and director - Michael. Julia loved Michael with calm family love - Storge, and Michael answered her with sober, rational love - Pragma. They saw each other's shortcomings and treated them condescendingly. Even minor hobbies on the side did not affect the strength of their union. When Julia became very infatuated with Tom, she had the tact to hide it from her husband and not to traumatize him. The thunderstorm passed by without affecting their family well-being.

LOVE-ANALYTIC.

The coldest and most demanding type of love. After the beginning, which is accompanied by emotions, like any passion or love, a period of cold analysis begins, as a result of which many of the partner’s virtues that nourished the feelings at the beginning of love may fade. Those who have the Analyte form of love tend, in the first period of falling in love, to endow their partner with desirable, but often illusory, virtues, the absence of which, upon closer examination, can cool this feeling.

This form of love can sometimes make very unique demands on a partner. A loved one “should” so much, and even more “shouldn’t”, that over time it can be very difficult not to be disappointed in him. A marriage can be saved if it is based on a sense of duty, but the relationship can be very cool.

This is the most emotionally independent form of love that does not tolerate compromise in relationships. It is difficult for her to impose anything or limit her in anything. A person with this form of relationship insists that his demands be respected, but he himself is not always able to take into account the demands of his partner. It is a feeling from the mind, not from the heart, so it often lacks compassion, unless it is softened by an additional form of love that makes its own adjustments.

This is how Prince Bolkonsky loved his daughter Marya. He devoted a lot of time to daily lessons with her, trying to develop her abilities and intelligence, but did not care at all about arranging personal life daughters. The goal of her life was to be constant self-education, fulfillment of her father's demands and boundless love in response to his coldness. He didn't understand that she could suffer because of this. Prince Bolkonsky was in the mood for a less vulnerable, more optimistic and self-confident partner. The French governess Amelia was such a person for him. Her constant cheerfulness and talkativeness softened his stern disposition. He was especially impressed by the fact that she was not touchy. The daughter, on the contrary, has a form of love - Storge, absolutely opposite to love - Analita; she needed a more caring partner. That's why the relationship between father and daughter was so dramatic.

What happens if two people with the Analyte form of relationship fall in love with each other? This was well shown by I. Turgenev in the novel “Fathers and Sons” using the example of the relationship between Yevgeny Bazarov and Olga Odintsova. This relationship was reminiscent of the famous fairy tale about the crane and the heron. Mutual respect and admiration now and then gave way to bewilderment, since the initiative in expressing feelings was not supported by the partner. Their relationship lacked warmth, simplicity, and the ability to compromise.

Each saw in the other an attractive image of a partner of equal intelligence, but they were repelled by their mutual independence. Both needed a partner capable of melting the ice of their rational feelings with his strong emotional expansion and at the same time capable of making many concessions in order to preserve the relationship. A person with a form of love-mania is capable of this.

Their intellectual duel showed that their demands on each other would not be met, so it was better not to risk getting closer. He was the first to show his readiness to compromise, believing that a woman was a weaker creature and therefore would sooner or later give in to him, but Odintsova rejected his proposal in order to preserve her freedom. She understood that there would be a long struggle between them, which would not end in anything, since she was not the woman who could submit. They broke up and it was the best thing they could do.

About jealousy (toward Eros)

5th place. Jealousy is no less strong feeling than love. It is destructive in its essence and makes a person suffer, watching how the object of adoration is happy and serene in the company of the one he truly loves. Understanding jealousy is a rather complex process, because this feeling absorbs a person so much that it does not give him the opportunity to soberly assess the current situation. When jealous, many experience love that borders on hatred, as Fyodor Tyutchev admitted in his poem “Oh, don’t disturb me...”. While reserving the right to personal happiness for his chosen one, the author, meanwhile, notes that they are both in love. But the feelings of the one to whom these lines are addressed are truly pure and sublime. The jealous person, along with love, receives the bitterness of loss, annoyance at himself and the awkwardness that with his selfishness he destroys the image that he created in the soul of his beloved.

*** F. Tyutchev

Oh, don’t bother me with a fair reproach!

Believe me, of the two of us, yours is the enviable part:

You love sincerely and passionately, and I -

I look at you with jealous annoyance.

And, pathetic sorcerer, before the magical world,

Created by me myself, without faith I stand -

And myself, blushing, I recognize

Your living soul is a lifeless idol.

4th place. Jealousy, bordering on loss of reason, is another aspect of this complex and multifaceted feeling, which the Russian poet Nikolai Nekrasov tried to describe in words. His poem “Jealousy” is filled with pain and powerlessness before the onslaught of an insidious enemy, which can poison the serene existence of any person. It is enough for just a small seed of jealousy to take root in the soul of someone who is in love like everyone else. the world loses its beauty and attractiveness, feelings and desires become dull, and the heart is filled with cold rage, which is ready to splash out at every opportunity, causing pain to others.

“Jealousy” N. Nekrasov

There are moments of stubborn thoughts,

Destructive and pernicious,

Gloomy, violent, hellishly black,

These - dangerous as the plague -

Spendthrifts of misfortune,

Harbinger of evil, thief of happiness

And mind extinguishers!..

Here in the frenzy of robbery

They broke into the chest, howling furiously, -

Everything is upside down! And whole hell

Where an hour ago

A bright, rainbow diamond

Your torch - your mind - was burning!

Where is goodness, love and peace

They feasted an honest feast!

This hell... In which of the earthly creatures,

From the steppes and barren fields,

Of these desperate lands,

Full of cold and snow -

From Kamchatka ice ridge

To the shores of the good fatherland, -

In whom did it not boil violently?

Who is his - passions withdrawn,

Rich in heartlessness -

Dare you not to honor?..

This hell... it's filled with jealousy

Into the soul of a mortal. spread apart

For him wide path

Into the human chest...

He is coming with fire and crash,

He is affectionately sarcastic,

Everything has a different, bloody shine

It will overwhelm and transform

Peace into prison, joy into torment,

Happiness - into sorrow, fun - into boredom,

Life is in the cemetery, tears are in blood,

Into poison and hatred - love!

Full of fiery feelings,

Crying and languishing,

Person lives

In that terrible moment that whole century!

Crowned with thorns, not myrtle,

He prays for death - death would be heaven!

But despair with alcohol

The skull is filled to overflowing...

Paradise for his troubled soul -

Destroy and curse

And daggers throughout the universe

It’s not enough to feed the rage!!

3rd place. An attempt to curb this feeling, which knows no mercy, was made by the poet Eduard Asadov in his poem “Jealousy,” trying to explain that the physical defeat of a more successful opponent is not able to solve the problem. Moreover, it is impossible to return the favor of your beloved with the help of fists. All that remains is to honestly admit defeat to yourself and come to terms with the fact that fate turned out exactly this way and no other way.

“Jealousy” E. Asadov

Knitting his eyebrows, with firm steps

This evening under his feet

The snow crunches decisively and harshly.

An hour ago, in the spacious hall of the club,

The motley whirlwind swirled and raged,

The heart sang, the trumpets rumbled -

The youth ball was in full swing.

An hour ago he thought he would dispel

Suspicious bitter smoke,

An hour ago he believed that he owned

Still your treasure.

But when I saw my beloved

With the same long guy in a skullcap,

Evil snakes stirred in the heart,

He looked, was silent and hated.

The landing of the stairs is empty

He saw how he hugged his girlfriend,

So they moved closer to each other,

They kissed once, twice...

No, it won’t be in vain for them!

He was rejected, but he didn't give up.

He will sum it all up for them.

Shouldn't he have been boxing?

Because with harsh steps

A guy is walking near an intersection.

And no wonder under his feet

The snow crunches so hard and so hard.

Just why prepare revenge

And roll the nodules on your cheekbones?

If the heart fails,

Will fists help here?!

2nd place. However, humility in such matters is more characteristic of women who know how to more cleverly disguise this unattractive feeling under the guise of indifference and irony. However, female jealousy is more insidious and inventive, and, guided by it, representatives of the fairer sex are sometimes capable of inflicting deep emotional wounds on their lovers. Evidence of this is Marina Tsvetaeva’s poem “An Attempt of Jealousy,” which is filled with sarcasm and the desire to humiliate the person to whom it is addressed.

“An attempt at jealousy” by M. Tsvetaeva

How do you live with someone else, -

Easier, right? - Oar strike! -

Coastline

Will the memory soon fade away?

About me, floating island

(Across the sky - not across the waters)!

Souls, souls! - to be your sisters,

Not lovers - you!

How do you live with downtime?

A woman? Without deities?

Empress from the throne

Having overthrown (descended from it),

How is your life - you are busy -

Are you cringing? Getting up - how?

With the duty of immortal vulgarity

How are you coping, poor man?

“Convulsions and interruptions -

Enough! I’ll rent a house for myself.”

How do you live with anyone -

To my chosen one!

More characteristic and edible -

Food? If you get bored, don’t blame me...

How do you live with your likeness -

To you, who trampled Sinai!

How do you live with a stranger?

From here? Edge-on - Lyuba?

Shame of Zeus's reins

Doesn't it whip your forehead?

How are you doing - are you healthy -

Maybe? Sung - how?

With the ulcer of an immortal conscience

How are you coping, poor man?

How do you live with the product?

Market? Is quitrent cool?

After the marbles of Carrara

How do you live with dust?

Plaster? (Carved from a block

God is completely broken!)

How do you live with a hundred thousand -

To you who have known Lilith!

Market novelty

Are you full? I've cooled down to the wizards,

How do you live with earthly

A woman, without sixths

Feelings?..

Well, behind your head: are you happy?

No? In a hole without depths -

How are you, dear? Is it harder

Is it the same as for me with others?

1 place. Meanwhile, female jealousy most often results in sophisticated and insidious revenge. In her poem “Jealousy,” the poetess Mirra Lokhvitskaya admits that she is ready to endure all the torments of hell just to enjoy revenge and cause no less severe pain to the person she loves, and who simply betrayed her, trampling on her feelings and hopes. However, you should not count on the fact that revenge will help get rid of jealousy, since only time heals such mental wounds.

“Jealousy” M. Lokhvitskaya

Where the lush grass seemed to be crushed,

I found a piece of pink ribbon.

And in the joyful kingdom of rays and aroma

There was a sigh - depressed, but deep.

A rosehip needle caught by accident,

Among the buds eager to bloom,

An unfortunate scrap, a solved mystery,

You brought me painful news.

I will keep you, a witness of deception,

In a heart full of bitterness and evil,

So that his wound never heals,

May my revenge be worthy!