Humanistic traditions in the work of Kuprick. "Social theme in the work of A.I

The writing

Alexander Ivanovich Kubrin - a very bright and original writer end XIX. - early XX century. In his talent, contemporaries saw the pristine power of the Russian people, something mighty and strong. Such and its best works - they reflected the lives of various classes and estates of Russian society.

In his work, Kubrin continued the democratic and humanistic traditions of Russian literature, especially L.N. Tolstoy and A.P. Chekhov. He always tried to affect the actual events of his time.

On the literature, Kubrin began when he studied in the Cadet Corps. Then he wrote poems. In 1889, the pupil of the Junkers School of Kurprin printed his first small story In the magazine "Russian Satyric Listka", which is called "Last Debut". For this act, he was arrested and planted on Gaupvataht. In 1841, Kubrin resigned, settled in Kiev and began to write for newspapers.

Kubrin wrote a lot of stories, they are all beautiful, unusual, raise the current problems of the moral responsibility of the intelligentsia for suffering and bad life People. I would like to dwell on two works A.I. Capper - "Moho" and "Gambrinus".

"Moloch" written after Kuprin visited Donetsk and saw the life of workers. I must say that life in the working steel mill was terrible. And Kuprin is very colorful and reliably reproduces it in his story. In it, the Kurin shows the contradictions between the rich and the poor, between those who work, and those who are making it on their work. We see the weekdays of a major capitalist plant, poor life of workers, their poverty, as well as the reluctance to live so much that is poured into methers and robbery. The main character of the story is the engineer of Bobrov, who all sees and thinks about what is happening. He is very acute and painfully reacts to injustice, on suffering and pain. The writer compares capitalist order with evil and terrible God Moloch, which requires human victims. In the story of the servant of this molor is the owner of the plant - Quastery. He makes money on everything, but he also wants to be a leader of his bourgeois party: "We have a future," he says. At the Svashnin plant fear and do everything to please him and not pour it out. He even gives the best girl - Bride Bobrova Nina Zinenko.

This causes protest in Bobrov, and he wants to blow up the factory warehouses, destroying this mound. However, further thought does not matter. Here, Kuprin shows that the intelligentsia of that time is not yet ready for decisive action. And in this her tragedy.

Nevertheless, the future of Kubrin connects with the uprising of the people - the story ends with a riot workers. They still set fire to the plant, Kvashnin ran away, and from Moscow sent punishers to pacify the rebels. So the writer showed that only the people themselves can change the life and the established foundations.

I still really like the wonderful story "Gambrinus", which was written in 1907. Here again the topic of the revolution appears - a very relevant topic for that time. Only here there are no revolutionaries or conspiracy. "Gambrinus" is a story about a small man who dared to challenge the authorities. This is a story that everyone must have their own position and should be defended. The main character of the work is a Jewish musician Sasha, whom everyone loves. He has a violinist talent, and he collects all ordinary people with his music. He plays different melodies, but most of all I like "Marselliteza" - revolutionary music. This music is necessary because there is a revolution. However, the reaction came soon, and Sasha refuses to play the anthem on the order of the police. Then he beaten, they break his fingers to him so that it was no strong.

But Sasha is not sad - he returned to the zucchini and continued to play cheerful and perky music. So Kuprin wanted to show that the power of art and the spirit of freedom is invincible. This topic will continue in other writer stories.

The story "Gambrinus" teaches us not to betray their ideals and do not fall in spirit under any circumstances.

Alexandra Ivanovich Cookin with confidence can be called one of the best Russian writers of the beginning of the 20th century!? If we talk about the place in Russian literature A. S. Pushkin, L N. Tolstoy, A. M Gorky, then everything is clear here, it is no longer discussed. But speaking of Cookina, his contemporaries, critics and literary criticism constantly clarify its place in the domestic literature. So A. V. Vorontsov in his article "130 years from the date of birth" writes: "... It is unlikely that anyone with confidence will call the Kuprika figure, equal to both his great contemporaries - Chekhov and Bunin and the rank of bed - Gorky and A. Tolstoy. Why, actually? Is it obsolete to work, forgotten ...? There was no one. Children read the "White Poodle", "Barbosa and Zhulku", adults - "Olesya", "fight", "pit", "pomegranate bracelet". …So what's the deal? Where "did not reach" the Kuprin to enter the premium "great" or be the first among "outstanding"? ". And really, why? According to the same Vorontsov, he, "a talented writer, never outlived a journalist in himself."

And Yu. Druzhinin in the article "Kurpouris in Foundation and Falometer" speaks about unnoticed anniversaries of such a great writer as A. Kubrin. Why did it happen? And because the date "marked what I did not want to remember, so they did not make it seems to be remembered." In the Soviet literature, the time of "restructuring" was revised by a lot of things .. From the black list, the writers prohibited earlier in their homeland began to move. The Kuprin has long been allowed, only the truth about him remained half the way hidden. Apparently, so his work is still not sufficiently studied, as the work of those whom the fate has been more favorable. Soviet criticism did not take care of his life and creativity, but at different stages of life it was considered differently. Constantly it turned out: "Our" or "not ours"?

Also, with regret, he speaks about the forgotten Cupper and S. Chuprinin in the introductory article "Re-reading Kuprin" to one of the publications of the author's works: "About Cuprene is now remembered. It is reprinted, they write dissertations, but do not argue. "

It was a shame, opening the book "100 best writers of the 20th century," not finding there Kurricov, although few of his contemporaries wrote as he. He had a gift to build in every created image. No wonder he once said the words, who after will repeat one of the heroes of the "pit": "To her, God, I would like to become a horse, a plant or fish or to be a woman and to experience childbirth; I would like to live inner life and look at the world through the eyes of every person who meet. " In addition, the Kubrin was first touched upon the problems of the army, ("fight"), opened the world of sales love ("Yama").

Considering the themes and problems already studied in the work of A. I. Kurin, we will try to place them in a gradation sequence: from the most studied to a low-prospective.

One of the most studied topics in the work of Alexander Ivanovich Kurrina is the topic of love. Love has always been the main theme of its large works and miniatures, so considered all the researchers of his work. And, perhaps, the poetry thing Krurin, according to the majority of critics, became the "garnet bracelet" - a wonderful story about the unrequited great love, love, "which is repeated only once in a thousand years."

But here V. N. Afanasyev in his article "A. I. Kubrin "writes that" making his "little man" capable only on selfless ... Love and refusing to him in all sorts of other interests, the Kuprin involuntarily dropped, limited the image of the hero. Introduced with love from life with all her unrest and anxieties ... Yeah there was thereby impoverish and the love itself ... This is a quiet, submissive adoration ... Without the struggle for your loved one ... I dry out the soul, makes it timid and powerless. " But A. A. Volkov in the work "Creativity A. I. Kuprin" speaks precisely undivided love in the works of the writer, who "opens the opportunity to transfer the high intensity of human experiences, show how the moral authorities of the bourgeois society are destructive. In the "duel" Nasansky, arguing about love, says precisely on unrequited love: "And love has its peaks, available only to units of millions ... Do you understand how many diverse happiness and charming torment is in unrequited, hopeless love." Wolves, arguing about the happiness of unrequited love, comes to the conclusion that "the feeling of undivided love is never dulled, because this love is hopeless, it is not quenched with a response feeling." It was the undeveloped love heroes of Kurrick consider this.

In the "pomegranate bracelet", General Anosov argues that real love is always the greatest tragedy. According to Volkova, the true "love may arise where a person is close to nature, where social contrasts and the destruction of the mulfur" ("Olesya") are not so felt. Forest fairy tale ends tragically. Volkov believes, to blame the environment in which the heroes were brought up: the girl, "brought up among nature and free from all conventions of the Meshchansky hostel and a man," weak "before these conventions could not be together. But about the "Sulamyfi" you can find exactly opposite points of view. This is a piece of Kupper, one of the few, about mutual feeling, destroyed jealousy. According to Sergey Chuprinin, Gorky "ranked" Sullaph "to immoral literature", and Volkova read: "I. Koretskaya in the comments to "Sulamy" makes the following sentence: "The oversaturation of exotic, stylization, spicy erotic brought a story with modernist art." P. N. Berekov, not so unconditionally, but also condemns the author for the "Sulamif." But the wolves and Chuprinin call the story of a talented, as the author opected in her the gentle passion of the beloved. A new thought of love appears in this work, which is "strong, like death."

Also well-studied theme in the work of Kurris is the problems of the army. Many critics and literary critics called Kompanov Columbus "Army Mainland". To whom, as not to him, the laws reigning in the army are known, he experienced all military Muster for himself. When "duel" came out, he was immediately enthusiasticly met with an advanced criticism. The first to responded by M. Chunosov Article "The Monster of Militarism", he saw in the "Army Life" in all of her terrible and tragic urgency. " V. Lviv in the article "Priests and Victims" wrote about the indictment act of Soldatchin. Afanasyev believed that, depicting the royal army, the Kuprin "managed to affect ... A number of issues, deeply worried everything russian Society And especially those who stood on the day before and during the first Russian revolution. " But the most important thing was in the concept that was allowed, according to Plotkin, "in private phenomena to open ... Vices of the military life ... as an expression of the general incurable alend of the monarchical system." A. Volkov believed that the author sought to show the author in the "duel", "to which horrific state, a meaningless masting was brought, a walled discipline of the already scored, ignorant soldier's mass" but here revolutionary trends in the army described by Cooking, wolves did not see. And the paustovsky in the book "The flow of life" called the "duel" "the hardest hardware political system of Tsarist Russia", "a document on the stupid and rotten to the core of the officer's caste, about the army, held only on fear and humiliation of soldiers, about the army, as if deliberately created For the inevitable and shameful defeat in the first battles. " The reactionary criticism collapsed on Kuprin with an accusation of a slander to the army (A. Basargin "Literary catch against the military"). Both Lviv, and Volkov, and Afanasyev, and many other critics and literary critics talked about the talent of Kupper - Satirik, who managed to imitate the army life of royal times. To the pain of his familiar problems of the army, Kuprin will return more than once in his stories. Indeed, the relationship between officers and soldiers, the bureaucratic machine of the state, requiring a mandatory service even those who are not physically or psychologically, corrupting young officers the service in the province - all these problems of Kurin opened in the literature first.

Also, the critics that studied the work of Kupris, spoke about the traditions of such great classics of our literature, as L. N. Tolstoy and A. P. Chekhov, in his works. The early works of Kuprick contained entire excerpts from the works of Russian and foreign writers, many reproached him even in plagiarism: paragraph from Sanina Arzybashev, Monologue of Verchinina from "Three Sisters" Chekhov, but the most disagreements on this occasion was from Kuprin with I. Bunin . S. Chuprinin wrote: "Reading the Kupper, caught myself thinking that I flashed Maupassan, but D. London, here Chekhov, and then bitter, etc. Kuprin passed through itself all the ideas and images. Eagerly absorbed them, and ... they sometimes embodied in his works. " It was just imitation. But whatever impaired his work, especially early, you can see deep and diverse ties with the traditions of classical literature. Speaking about the "Oles", researchers recall the Tolstsky "Cossacks", in which their author set himself the task of showing an exemplary savage man who was unspoken by civilization, in contact with the "cultural" society. According to Afanasyev, Kuleshov, Krutikova, Berkov and others, the KUPRUP continued Chekhov traditions related to the lyrical and journalistic line. Passionate monologues and the dialogues that we read in the "Chamber No. 6" involuntarily emerge in memory, when I hear the conversations of Bobrov and Goldberg from Moloch, Romashov and Nazansky in the "duel". But all the same critics and literary critics said that the Kuprin "Not always was a champion of an extraordinary shortness, conciseness," like Chekhov, and, bowing to a fat-artist who took over the "Dialectics of the Soul", he was completely indifferent to a thick-philosope and a thick preacher. V. V. Vorovsky wrote about Cook, that his heroes, like Heroes Chekhov, there was a "thirst for liberation ... from chains of slavery and vulgarity." A. Volkov believed that "the social motives of the behavior at the heroes of Kurris are significantly more naked than that of Chekhov's heroes." In the Russian biographical dictionary, another difference is said: "The Kuprin heroes, unlike Chekhov pessimists, are organically loved by life, cling to it." This all suggests that, despite the imitation and following the traditions of Tolstoy and Chekhov, the Kuprin is looking for his own style, his letter to the letter.

Continuing the traditions of Pushkin and Dostoevsky, Kurin reveals the theme of a "little man", which sympathizes, reveals his spiritual qualities in counterweights decadent writers, although he sees the weaknesses that often depicts him a friendly irony. On the eve of the revolution and in her years, the theme of the "little man was the main, according to Afanasyev, in the work of Kurp. And Afanasyev, as it were, reproaches the Chinese in the fact that he does not see the true wrestlers, ... does not think to join martial arts with evil. " But attention to the "little man", the protection of his ability to feel, love, suffer quite in the spirit of Dostoevsky and Gogol. Recall at least yolkkova from the "pomegranate bracelet".

About Cuprine, as an adherent of realism (critical and traditional), all advanced critics and literary critics wrote. Afanasyev believed: "The success of Kuprov was a success not only himself, but also literary directionTo which he joined. It is at the beginning of the new century that are especially tangible achievements of writers of critical realism. " This was written about this and prominent critics of revolutionary time A. Bogdanovich and Y. Veselovsky. Although the same critics were observed in the works of Kupper and the trees of decades. Far away from realism and lyric philosophical miniatures, written in 1904 ("Diamonds", "White Nights"). Afanasyev calls the reason why Kubrin leaves at times from realism - this reason lies in the instability of it philosophical views. By the way, many critics noticed in the realistic works of Kurpra and romantic elevation, and excessive attention to everyday life (even called the "dietary commodity") at the same time. According to Volkova, anywhere would write a writer, whatever fashion did not give tribute, "he was, and remained a realist." Although P. Berekov, as Wolkov says, "intimidated in contradictions", concludes that "incomprehensible and accidental", tangible in some works of Kurpra, determine all its creativity. The wolves in the root disagree with the opinion of Berkov, he says that "Kurrun would not be a realist if the" chance "was the basis of his works. Also with delight speaks of Cook, as about the "talented realistic democrat, who developed the traditions of writers of" Old Realism ", F. Kuleshov in the book" Creative Path of A. I. Kupin ".

And here's another problem, a fairly studied by researchers of creativity A. I. Kurin, - features of the development of capitalism in Russia. According to Kratikova, it is in the lead "Moloch" affected by many actual problems of the end of the century. It consists of the development of capitalism in Russia, the tragedy of the personality, the relationship between the bourgeoisie and intelligentsia, the position of the working class, the prospects of capitalist civilization and technical progress, moral appearance of the bourgeois and bourgeoisie. " But at the same time Krutikova, speaking of the creative growth of Kupper, boldly held for the statement of the burning of the era, speaks about the internal unpreparedness of the author to the disclosure of these issues, which was expressed in the fictional-traditional and lightweight interpretation of these problems. According to Afanasyev, "Many writers, contemporaries Kurin, as, for example, D. N. Mamin-Sibiryak, each in his own way depicted the" knights of the progress ", large manufacturers who are digging millions of baryrs and consider themselves the creators of culture and progress. Kerpur was worried about the same problems, but he seeks to open and expose the ulcers of capitalism, his corrupting force. So appears on the pages of the story the image of the Quashnin manufacturer, personifying the bloodthirsty god of antiquity of the Moloch, the symbol of cruelty and the inelers of capitalism - this thought passes through the whole work "Moloch". But, according to all critics, even progressive, "Bobrov's protest against capitalism has no practical significance, because he is a weak, neurasthenic, non-accurate, who is not capable of fighting and action", however, like Kuprin himself. The condemnation of capitalism sometimes passes in the denial of technology, culture, civilization, leads to the naive glorification of "good old time". A number of magazines and newspapers responded to the appearance of "Moloch". For all the contradictions of estimates, all written stories converged on the recognition of her great social significance. So, the critic of the Kiev newspaper "Life and Art" noted that "Moloch" "is a strong protest ... against the general worship of the Golden Taurus, against the entire direction of modern civilization."

As you can see, the critics reproach the Chinese in the fact that he could not create a strong revolutionary fighter. And Kuleshov wrote that "in the Kufrian" Moloch "- the product of the mid-nineties is not, and there could not be a proud, formidable and revolutionary proletarian ... Even bitter, standing much closer to the employment people ... did not create a working and revolutionary image ... Because life, Russian reality has not yet given the writers of sufficient material to create a new literary hero. " Moloch is the first work class in the Russian literature, but, as well as in Zola in "Zhereli", the proletariat is a silent mass, a crowd, which is easy to deceive promises. Speeches of the crowd of spontaneous. And protest, the riot starts an intellectual, an engineer, destroying machines, not a person, system. And the cause of the protest is more personal: the money and power wanted love.

The problem of passive, which is not capable of combating intelligentsia, is investigated in the work of Kurp. Wolves writes: "The theme of the intelligentsia was developed in the" duel "so brightly, hotly and truthfully because it was a personal, treated theme for the writer himself." During the years of lifting the liberation struggle, the writer was particularly acutely interested in the problem of being honest, but burned in the entire intellectual, which was lost with the power of character and will along with faith in life. For such an intellectual, whose tragedy was partly the tragedy of the Krapper himself, are characterized by terrible reasoning on the distracted topics of beauty, truth, justice, reasoning, not supported by strict historical and social analysis and practical action. When considering the artistic structure of the images of Nazansky and Romashov, it becomes apparent which enormous importance attached to the countertal artistic study of the soul of the reflecting intellectual. Nasansky most fully expresses the positive ideas of Kuprin, and therefore he and the most controversial image throughout the work of the writer. If only the features of inaction, impotence of the Spirit are embodied in Romomash, then in the speeches of the Nazansky writer, the writer was trying to draw the program of ideological healing of the intelligentsia, a system of philosophical, ethical and aesthetic views. In the form of Nazansky, the Power of Kupper and its weakness - the inconsistency and eclecticity of the writer's worldview were also reflected.

Also, our clubs were well studied early creativity Alexander Ivanovich. All of them allocate the same borders of early creativity - this is a seven year from 1889 to 1896, i.e., from the first speech of the writer in press with the story of the "Last Debut" story before creating it to the Moloch, the first large in ideological and artistic terms, distinctive Works. Afanasyev believed that in the early stories, despite their unequalness, "the main leading line is manifested with the desire of their author to reveal the spiritual beauty of a man-worker, a person from the people, to show the unsightly appearance of the" owners of life. " These characteristics An early creativity of Kurrick will find a distinct embodiment in its first major work of the Moloch. Kratikova spoke of not quite legitimate attribution of the early works of Kurpric by some critics for decadent, as the author himself opposed it. Also, according to Kratikova, in the "Early Stories of the Kurin on Love, a lot of literary stamp, extravagant and sentimentality". His "military" stories - "Inquiry", "Evaloor Army" are considered the best works of the young Kupper. Kuleshov believes that it is in the early work "it is planned a circle of favorite writer the writer and the search for a positive hero begin." For seven - eight years of their writer youth, Kurin printed about forty stories, two stories, fourteen household essays, half a decrease in "production" essays, a number of poems, current number Reporter notes, newspaper articles, fechens, correspondence and chronicles.

Well studied in the works of researchers and such a genre as an essay. From all newspaper genres, in which the early Kubrin tried their strength, according to Kuleshov, this genre was the most favorite. Essay was an expression of the healthy and natural curious curious writer, greedily peering into the surrounding, life and life of people of all classes and professions. In the essays on the production topics, the Kuprin uses the analytical admission of the image of production, going from the total to the detail, to the parties.

Afanasyev, wolves and others believed that "the characteristic features of the journal-essay designer are fine observation, increased interest and attention to a small, inconspicuous, and sometimes declassed, abandoned to the bottom of the life of people." Some essays are interesting because they are sketches, sketches to later works of the writer. The most significant, according to Volkova, are essays: "Bad", "Thief", "Doctor", "Khanzhushka". Somehow Aramilev in his article reproached the Chinese in the fact that his essays are similar in photography. But, criticizing Article V. Aramileva, Gorky wrote I. Zhig: "Neither Korolenko, nor Gamsun, and even more so the Kurrun is not photographers, they bring too much from themselves." This Gorky remark accurately determines the general property of the "Litriped" cycle and pays tribute to Cupper - a major mastera of the energous genre.

The first among Russian writers Kubrin reveals the topic of prostitution, the topic of sales love in the story. This topic is still not investigated enough, since during the life of the author and under Soviet power this work was considered immoral, obscene. Although for Tsarist Russia, and for our time, this problem was standing and costs rather sharply. The rapid development of capitalism, the mass impoverishment of the village, as well as the moral decomposition of the tops of the bourgeois society, frightened by the revolution and seeking oblivion in the "acute sensations", led to a significant increase in prostitution, especially in large cities of Russia. But to this topic, Kuprin approached as an artist-humanist, deeply sympathizing with "humiliated and offended", striving in a fierce soul to find a bright, human beginning ...
But the main thing is that criticism "criticized" is what it turns out "not social causes, and the eternal biological instincts laid down in human nature, that, according to Platonov, creates and supports prostitution." Cookmark difficulties in work on the "pit" were not accidental. First of all, they were explained by the lack of a clear position at the writer. That he approached an understanding of the dependence of prostitution from the private ownership and exploitation of a person by a person, he deviated from this towards the arguments on the eternal properties of vicious human nature. Soviet criticism of the "pit" is almost nothing written, and it is hardly necessary to fully agree with the opinion expressed about the story of P. N. Berkov: "Neumbnate the laws public DevelopmentThe recognition of the lowland of human nature is due to the failure of the largest in terms of volume and least preserved for the Soviet reader the importance of the work of the Cookic - the story of "Yama". But these and other positive estimates are opposed by other opinions. L. Tolstoy read only the first pages of the story and ... rated it as follows: "I know that he seems to be denied. But he himself, describing it, enjoys. And this is impossible to hide the person with artistic alarm. " V. V. Vorovsky wrote about the first part of the "pits" that she wears the "alien Cupurina the nature of idealization, and the most style of his latter was impregnated with him to him. In the aesthetic declarations made in the "pit", the KUPER is largely closed with the aesthetics of naturalism.

Naturalistic tendencies in the works of Kuprin were not studied separately by Cupovnedov, but everyone speaks about them in their monographs and articles. In the second and third parts of the Tale of "Yama", elements of naturalism, which have affected, first of all, in excessive underlining the parties to the life of a public house, which inform the narrative of excessive rudeness and physiological scientists. This is, according to Afanasyev, Volkov, Kratikova and other advanced critics and literary critics, and served as a reason for the accusation of Kuprin in the tendency to pornography. The named literary crowns consider the Cupper with a consistent realist and the addiction of the writer to the "living documents", in their opinion, did not turn it into a naturalist ... "I personally love the truth naked, whining on my heads ...," he said in a conversation with one of the journalists in 1905. "Therefore I find that the writer should explore life without turning away from anything ... Lie badly, whether it smells dirty ...".

And one more insufficiently studied theme - the masses in the work of Kuprin. There is no special study on this topic, although every critic takes her place in his article or a monograph. The Kubrin, like Turgenev, looked at the people differently. In the image of ordinary people, Kurpric was distinguished from the writers prone to people's population (although he received the approval of the masted critics-populist N. Mikhailovsky). His democratism was not reduced only to a tearful demonstration of their "humiliation and insulsion." A simple man from Kupper turned out to be not only weak, but also able to stand up for himself. The people's life appeared in his works in his free, spontaneous, natural course, with its circle of ordinary worries - not only the sorrows, but also joys and consolations, for example, "Litripeds". Like a bitter, describing the life of Bosyakov, Kuprin also looks close to the life of "rejected". Only, according to Volkova, "for the Gorky Bosyakov, the search for the truth, the search for the meaning of life is characteristic. Cook in the sketches of "rejected" there is no this Gorky deepening in nature. Its, above all, attracts painting, colorfulness, the unusualness of these people. He loves the types of "rejected". Describing the thieves, he conscientiously lists all the branches of this ancient "profession." He tells us about the varieties of beggars ("arrows"), brokers ("hare"), mantist ("Hanzushka"), tells calmly, without indignation. And, nevertheless, all "collectible" turns into indictment against bourgeois society. " But many critics said that the well-known limitations of the writer's worldview led to the idealization of declassified elements.

Another topic is a kerp psychologist. According to Volkova, "Kurin reveals a greater ability to artistic reincarnation," entering "into the image, which allowed him to create living characters and with deep truthfulness to transmit a difficult course of thoughts and experiences of his heroes. The Power of the Kurrova-artist was discovered in the disclosure of the psychology of people set in various life circumstances, especially those in which the nobility is manifested, the power of the Spirit. However, sometimes it is inclined to delve into the debris of the pathological psyche, to study the complex bends of the sick soul. Well, when the artist, penetrating the essence of the pathological psyche, finds out its social genesis. The error begins when the properties of the sick psyche are issued for the eternal beginning of a person's soul that cannot be controlled by the mind. We see such psychological experiments in the stories "Yas", "madness." Unfortunately, and in these stories make themselves felt mystical motives, testifying to the influence of decades. "

Literature:

1. P. N. Berekov. Alexander Ivanovich Kuprin. M.-L., Publisher of the Academy of Sciences of the USSR, 1956.
2. V. V. Vorovsky. Literary and critical articles. M., Goslitisdat, 1956.
3. V. Afanasyev. Alexander Ivanovich Kubrin, M., Goslitizdat, 1960.
4. Izmailov A. Songs of earthly joy // Izmailov A. Lit. Olympus. M., 1911.
5. Kronfeld V. Poet of a joyful chance (A.I. Kubrin) // Kronfeld V. In the world of ideas and images. St. Petersburg., 1912. T. 2
6. Volkov A. A. Creativity Kuprin. 2nd ed. M., 1981.
7. Kuleshov F. Creative path of Kurrov. MSK, 1987.

Practically in all analyzed poses A.I. Kuprin can be found "the grain of the plot" (the maximum concentration of the meaning and the ability to thicken the story to several proposals), from which the plot develops subsequently. This is proof of the special style of the artist, as well as confirming that this style is one one. In the stories of K., you can find the plot in the plot, which hints at the future event, on plot turns. For example - Faketon in Oles (the hero has already published a feuilleton with 2 murders and 1 suicide), and the divination of Olesi (predesends the development of events). In the "pomegranate bracelet" - a letter of yellow, explaining the value of the bracelet. In the "duel" - the name of the work of Romashov - "the last fatal debut".
Special role The narrative plays the so-called "mirroring", compositional symmetry. The motive of love, images of heroes are considered by the author from different parties, thanks to which an attempt is made to the generally accepted truth. Such a meaning of unity mirroring in a set has its own parallel in the stylistics of symbolists, which once again allows us to talk about the interpenetration of ideas, about the special atmosphere of the Rubber Age, in which the authors create their own works.

In the "pomegranate bracelet" the same reception of the mirror reflection (in the "Mirrors" reflects the various idea of \u200b\u200blove in general and about unrequited love of Yolkolkov). The story of her husband is General Anosov, album of cartoons, etc. The Kurpan works are dramatic and dramatically, and their drama is achieved by the fact that love, as the author shows, cannot be happy, because the fates of the heroes do not coincide in time and space (for example, in the "pomegranate bracelet" she is a married woman, he is hopelessly in love with a telegraphist). The outer convey of melodramatic procure, but the philosophical completeness informs the musical theme (epigraph - Sonata Beethoven). She listens to this sonata later in the final of the proc. In the finals, the words of the prayer "Father our" will be invas with the music of the Sonata Beethoven. ("... And in the mind of her words were made. They so coincided in her thoughts with the music that it was as if the plot, who ended with the words: Yes, the name is yours ..." (V, 270). As in the poetic product, epigraph To the story I. last words Faiths create a lyrical semantic ring. The synthesis of arts acquires the synthesis of liturgical synthesis. In addition, the epigraph and prayer itself are associated with associative to the story, bringing poetic features with it. Story-forming details. In Oles - a gun, in the "pomegranate bracelet" - a bracelet.

In Oles, Ivan Timofeevich comes to watch life and from the idle curiosity in Pechorinsky destroys the life of the witch of Manulyhi. In Oles, the characters are shown from different points of view, as if through the "System of Mirrors" (with the TZR village, narrator, heroine, manulyhi, and even forests). The refraction of the folk material in the artwork. Kubrin uses myths, legends, various legends and legends, parables, biblical motives. Squeeze K. fabulous folklore In Oles (the description of the night of love, the relationship of grandmother and granddaughter, divination manulya). Olesya - the child of nature, the image of spring (chicks in the Podol). She is ready to go to the church on the Trinity (the holiday of all living things is the decoration of Berez). Tolstovskaya Tradition: conflict of nature and civilization ("Cossacks").

"Sullamife" faced as a historical poem or legend. The image of the coming faith in the church meaning. The content is not coordinated to the storyline - Solomon and Sulauf. The epigraph is a quote from the song of the song of King Solomon. It is the main conflict. The symbolism of the names is important: Solomon is peaceful, Sullaif. Love is the main hero of the work. "Scene grain" is set in the epigraph. The conflict follows from it, the plot. Stylization of the Bible.

The motive of love in many texts of the author (such, for example, as a "pomegranate bracelet", "Sullaph", "Olesya") is a rod at a substantive level. Love and death are inextricably interconnected realities, they acquire a special sound in the artist texts. However, it should be noted that the proximity of these concepts, their close coexistence is characteristic of the entire culture of the silver century. The motive of chosenness of love is perceived by the heroes and, above all, the author himself as the divine gift.

9. Suitable, composition and art content "Pomegranate bracelet".

The story of love, the idea of \u200b\u200bthe story, the writer heard in the summer of 1906 visiting the member of the State Council Dmitry Nikolayevich Lyubimov. Spouses Lyubimov showed Cooker family album. There were illustrations for letters that the wife of Lyubimov received from a person signed by the initials P. P. Zh. (They turned out to be a small mail official Peter Petrovich Zhaltikov). Kubrin creatively rethought of the heard and power of his talent turned the usual episode in the history of love, which in centuries dream and jeep "the best minds and souls of humanity - poets, novelists, musicians, artists." Unlike the hero, the story of Kurris, the chest was not shot dead, but was translated into the province, where he was then married. But he served real prototype To create a hero, who conquered our hearts with the strength and cleanliness of their feeling.

Usually in the stories of Kruros, you can find a kind of cooked "plot in the plot", which urgent hints at future events and plot turns. In the pomegranate bracelet, such a "plot in the plot" becomes a letter of yellow, explaining the properties of the bracelet.

In the pomegranate bracelet, as in many other historians, the author uses the reception of mirror reflection, i.e. Displays different ideas about the same love phenomenon in general and unrequited love of Yoltykova (the story of General Anosov, the album of cartoons, etc.). The plot is organized in such a way that the heroes turn out to be separated by the force of circumstances, different social sites (it is a married woman from the highest common, he is a simple telegraphist who has no chance of reciprocity). External canvas plot of melodramatic. But the work is reported by the philosophical completeness of MUZ. In the final of the story, the heroine is listening to this thing this thing Beethoven, and her Vnetr.Mist about love sounds like a poem in prose, eats music, there is something from akathist, with all the power showing, as The "prophecy" of the telegraphist comes true. The musical theme "Appassionates" argues high power love. Music in the story generally playing very important role, It is not by chance that the name of the second Sonata Beethoven was put into epigraph. It serves as a key to understanding the entire work. "Prayer about love" passes a leitmotif through all the work and powerfully sounds in his final. What did not manage to express the words of the In Love, the music of the Great Composer "said" the music of the Grand Composer.

It means. Ore play in the formation of the plot, the details that become plotting and, repeating, find symbolic meaning. Such a detail in "GB" Is the bracelet itself.

The composition of the story maximizes the idea of \u200b\u200bthe story. Start
narration: a description of a fading garden symbolizes life
Faith, in which there were spring, and summer, and now comes autumn.
In the name of Faith, there are guests from the aristocratic circle,
Joking conversations about love P. P. J. To faith. Husband faith even
Shows drawings, funny illustrating a sense of telegraphist
To faith. There are vulgar conversations, and faith is shy to them.
Kubrin introduces in the story of plug-in Novels about love that tells
General Anosov.
And it is he says that there is a real love,
Which is very rare in life. Faith eagerly listens to his words
she approxes them on himself, but, of course, cannot tie them with yellow
Poor official.
Finally, the scene in the apartment of Yoltykova, which is culmination
The story also brings the action to the highest point. Next begins
recession, but in the last scene, the chords of the Sonata Beethoven sounds,
And the topic of love, turning into a triumphant song sounds again.
A composite authority is the epigraph to the story, the meaning
Which becomes understandable only in the last stage. Cupin writes not about the emergence of love of faith, but about the awakening of her soul. The complexity of his plan is to scatter the rapid soul-made metamorphosis-predetermines the poetics of the entire story that is full of specific, living sketches.

10. Tale of the Kukrin "Fight". Conflict Social, moral, spiritual and path of its permission in the work.

Social problems: the army reigns rude army habits, cruelty, cards, boots, grandfathers ( just do not call it so in the answer! This I am clearer it!), everyone drinks, playing billiards and go to prostitutes, and there are no other entertainment. And Romashov is thinking, feeling, with a thin soulful organization (albeit). Airlie can arise in her desire to get out of this terrible army cloake, but she achieves this inhuman methods (her husband kills at Duele Romashov).

On the example of the life and death of the main character, we are convinced of the hopeless position of army people who thirs of meaningful life. The main culprit of the Physical and Spiritual Tragedy of Romashov is not Churchochka Nikolaev, who, in essence, and the victim herself, but the entire social system, breeding the brown beack-agamalovy, despotic sediment, army chinodrals of Nikolaev, Schulgovichi, destroying the dignity of the lower rank officers. In such an environment, there is no place for honest people: they are here or morally descend, finding joy in drunkenness, as it turned out with Nazansky, or die like Romashov.

16. Traditions of Russian classics in the works of A.N. Tolstoy (novels, tale of "tiny taxes", "Adventures of Plenkina"). The originality of a satirical look at life. Life. Detail. Grotesque.

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Alexey Nikolaevich Tolstoy enters the literature in the 900s, to the crisis for the Russian intelligentsia, the era, which came after the defeat of the revolution 1905-1907. The peculiarities of the world and the artistic talent of the thick of those years with the greatest force were expressed in the titles and stories dedicated to the fate of the Russian provincial manor and a manorous noble culture.

On the material of family legends, noble tribal chronicles, Tolstoy's own observations in 1909-1911. Creates a cycle of the age frames and stories, then combined in the collection "Volga". This book about the epigons of the noble world, "Cracks, colorful and ridiculous", which, as Tolstoy said, appeared in front of him "in all the magnificence of the types of the outgoing fortress era," he entered the greater literature. It is thematically to this cycle, the novels of "Candans" and "Chrome Barin" (1912) are adjacent. The image of the moral and spiritually indispensable inhabitants of the estates (Taxov's tinsel from the "Volzhya", Prince Krasnopolsky from the "Chrome Barin") constitutes the content of "Chronicles".

In the works of the Zavolzhsky cycle, the features of the realistic style of Tolstoy were determined: the historical accuracy of the characters entered into a specific environment, their inseparableness from the "real" life of the environment. In the stories of thick life, things seem to become an objective manifestation of a fusion that began the overall decoration of the estates. In the description of the characters and household circumstances in which they are delivered, Tolstoy followed Gogol tradition! It is felt in the principles of building satirical portrait characteristics, in establishing the continuity of ties between the world of things and human psychologyIn frequent likesliness of man things that become a detail of the image (for example, the old chair of the dying landslide lands, exploited bowls of Tetushki from Turchesev). Gogol principles for building an image with clarity are found in the story of the "The Adventures of Statistan" (1913). The story of the story immediately causes the Association with " Dead souls" It is formed by the adventures of the rich Deltsy, who is looking for a "style", wanting to join the old noble culture, couges the noble estates. But meet him with last heirs The noble culture is found by their vitality and spiritual poverty, wild unchief. The plot parallel to the "dead souls" is quite given quite consciously. In Gogolian manner, the portrait and psychological characteristics of the estates of the estates are constructed.

To a lesser extent, the Turgenev tradition of the nobility life is quite clearly seen in these stories, but meaningful through the prism of A. Tolstoy's concept about the fate of the nobility and its culture. In these years, the creative quest Tolstoy experienced and the influence of Dostoevsky, primarily his ideas of atoning suffering, sacrificial love (Roman "Chrome Barin"). But for the general view of the Tolstoy on the world and his deeply optimistic talent of Dostoevsky's ideas were not organic. They were perceived by the writer only outwardly, they were internally alien to him. In this reason, the reason for the sharp difference between the novel "Chrome Barin", which was immediately marked with criticism. An objective value and artistic force it consisted in the corollary of social and moral norms of the existing order of life. The conversion of Tolstoy to the traditions of Russian classical literature with its high social and moral ideals had a deep progressive value in the era of "literary decay".

Are thematically very different stories, the story, the novels of the thick of this period were united by the thought of the inevitable care of the noble world and the moral insolvency of the new "hosts" of life - bourgeois deltsi. They are combined with the style of the artist, as said bitter, "undoubtedly, large, strong and cruel truthfulness depicting the mental and economic decomposition of the modern nobility."

Creating the Gallery of "Chudakov", the noble "inexpensive" new time, self-robes and geeks, which hideged and already in a new life, the inappropriate traditions of the gallant local culture of the past, Tolstoy puts them into strange, anecdotically ridiculous situations in which it is exposed to the limit of the contradiction of their internal poverty and claims for a role in history.

Showing the collapse of the estate world, Tolstoy believed that this is a deserved retribution for violence against the people, Kara for moral crimes. However, it should be noted that the comic (in characters, situations), through which infertility, no one else was revealed, the moral inconsistency of the life of all these epigions of the noble world, was deprived of an angry pathos, softened by humor. The world of the outgoing past Tolstoy contrasted only the healthy element of the life of nature and man from the people associated with her. But, despite the lack of social clarity of positive ideals, the criticism of Tolstoy relies on deeply optimistic confidence in the renewal of life, freed from cosupiness and tens.

The realistic and merciless of the dentition of the degenerate nobility is sharply distinguished by A. N. Tolstoy from other modern writers to him, drawing a decoration of a manor house in Elek tones. In the image of the landscape of the taxis and the disgusting traits of reaction and degeneration, the characteristic of the typical properties of the outgoing landlord, are emphasized. The causes of the decline of the landlord class writer finds in its moral and ethical decomposition, the absence of a solid support in reality and noble goals.

Due to remoteness from the masses and revolutionary movement Humanistic aspirations A. N. Tolstoy then worked abstracted moral and ethical character. He thought that the transformation of his surrounding life could be solved by the inner self-cleaning of the human soul. Some time it seemed to the writer that a person could find satisfaction in the all-consuming feeling of love driving on the path of spiritual elevation, good. Hence the public and spiritual limitations of the characters who caused his sympathy, as, for example, Vera Khodanskaya ("Little Taxes"), Katya Volkov ("Chrome Barin"). The appearance and the activities of advanced people of the epoch capable of transforming reality were then outside of his vision. Therefore, A. N. Tolstoy - the true and merciless accuser of the dark cruel parties of the past, the continuer of the traditions of classical critical realism - at first sought his positive heroes within the old society, well-known to him the noble and intellectual environment.

The gradual penetration of the writer in the new faces of public reality was introduced into the works of A. N. Tolstoy, along with the images of the disadvantaged shorn, the image of the allocator carrying the idea of \u200b\u200ba social protest. For the first time, such a new hero is embodied in the form of Dr. Kabretna (Roman "Chrome Barin"). Revolutionary ideas came to the village wilderness, he perceives vaguely, rather feeling, rather than consciousness. Barzkin is ready to join on new wayAlthough at the end of the novel, this line of character development of the character moves to the second plan to the image of his tragic love. With the image of the car in the work of A. N. Tolstoy, there is an acute experience of disasters of multi-million labor population and the first reflections on Russia, about the sorrowful fate of the Russian people, a mighty, but still attached century-old need.

Multiplicity of the plot, a combination of lyrics and satires, philosophical pondays and specific details, organic interference in the plot of chronicles and journalists - a property inherent in all major epic works of A. N. Tolstoy.

Seminar on the "Adventure of Statistan" from the IG:

Polemics with "dead souls". The style of the 20s is the era of flourishing, in the 12th year there was a partisan uprising, and by the 20th she finally saw the people, his wealth, felt unity with the people. It was then that the folklore began to collect, etc. The 20s demonstrate this lift even in the material plan. The author describes the scenes of meetings with nobles that are going to buy things, and answers questions: What remains of these times? What is the cause of the death of noble nests? Why does the nobility fall into decline?

The plot mirror: Chischiki collects, spends the beginning - to show that he is rich. Chuvashev - Americanized dealers, cartoon with nostril. Dialogue with Bunin - "Village" and even "Sukhodol". Shchepkin resembles Oblomov. The loss of communication with the roots - he says that he loves the people, but he himself says that the people do not know. Adventures last about a week.

14. A.S.Serafimovich. "City in the steppe" in the context of prose beginnings.

In 1906, Serafimovich proceeds to his most significant work of the pre-revolutionary period - the novel "City in the steppe" (printed in 1912 in the magazine "Modern World"). The novel summarizes the observation of the writer over the "work of the labor movement, its growth, his meaning." Live social collision shows the world of labor and the world of capital, ideological dispersion in the intelligentsia environment is disclosed, the inner moral perversion of the bourgeois order is disclosed.

"The city in the steppe" of Serafimovich with its subject concerns one of the most important stages of Russian capitalism, namely - the 90s. Financial Grindder Epoch Witte, Stormy Growth railway network, predatory initial accumulation on the background of the village of the village, clad of capitalist iron under the liberal spells of the intelligentsia, the spontaneous fermentation of the working mass in the shores of "economic requirements", etc. However, the Roman Serafimovich was written so that only by eliminating all of him " acting persons"And all the" literary beauties "of Serafimovich, you can figure out - by the actual residue - in driving power Epochs.

In the "city in the steppe" expressive-lyrical stream of seraphimovich style, brightly manifested in the works of 1905--1907, it turned out to be subordinate to a more powerful epic flow that captured many figures, fate, situations. For a wide web, drawing "the growth of the bourgeoisie simultaneously with the growth of the working class," they needed a leisurely, psychologically reasonable story, gradually the deploying plot, drawing of persons and details. Social theme, always sounded from Serafimovich, here received a new original embodiment.

The history of the life of Zakhar Koroedov, raised on the robbery and violence, who passed the path from a small acquirer to a major manufacturer, intertwined with the history of the life of a polliniov engineer, a typical liberal intellectual, despite the internal resistance and dissatisfaction with himself in the end of the Coroedov capitula. His brother Peter, in the past, the revolutionary, Buntar for an hour, who broke up with the illusions of youth.

Showing the Russian capitalism gaining strength, Serafimovich simultaneously draws and an increase in the resistance of workers, their craving for unification. The writer wanted to capture those class clashes that foreshadowed a revolutionary explosion. The prospects for historical movement, the inevitability and invincibility of the upcoming revolution are revealed.

However, the desire to deepen the social interpretation of phenomena, psychologically motivate the behavior of the characters, partially turned into the biologization of social processes. To prove the moral degeneration of the bourgeoisie, he uses such a plot stroke, as the cooching of Koroedov with his own daughter and the birth of this union of a non-visual heir. And Polynov to renewability pushes the pathological jealousy of his wife, unbearable family furnishings.

Obtaining the capitalist system, his foundations and morality, Serafimovich was increasingly realized that in the development of capitalism the reasons for his death were laid.

Leading force in the novel - workers. This self-consciousness wakes up, they are striving for change. The intelligents also play the role of the background: it seems to them that they make a lot, almost most importantly, that all this in order to others well. But in fact, everything is for your own "benefit." Not more…

Russia began XX century. He experienced, as you know, three revolutions (1905-1907, February and October 1917) and the prior wars - Russian-Japanese (1904-1905), the first world (1914-1918). Three political positions were contacted into violent and terrific time: supporters of monarchism, defenders of bourgeois reforms, ideologues of the proletarian revolution. There were inhomogeneous programs of the country's cardinal restructuring of the country. One is "from above", the means of "the most exclusive laws" (P. A. Stolypin). The other is "below", by "fierce, cycling of classes, which is called the revolution" (V. I. Lenin).

The path to art was lying through the comprehension of the multifaceted relationship of people, the spiritual atmosphere of time. And where concrete phenomena somehow were linked with these problems, a live word was born, a bright image. This principle was characteristic of a whole number of works created by revolutionary writers: the stories of "sands" (received the highest assessment of L. Tolstoy), "Chibis", the novel "City in the steppes" A. Serafimovich, the leads of A. Chapigina, K. Treneva, in . Shishkova, etc. It is significant, however, that interesting pages of works were devoted to acute moral situations far from the proletarian struggle. And the struggle itself was reflected very schematically.

Gloomy impressions prompted writers to turn to the mysteries of the nature of the person. The socio-psychological origins of his behavior were not silent. But it was correlated with the subconscious processes: the influence of the "power of the flesh" "for the strength of the Spirit" (Kubrin), the collision of the mind and instinct (Andreev), instinct and intelligence (bitter), spiritualized soul and a soulless mechanism (Bunin). Evie people are doomed to vague, confused experiences, which entails sad and bitter fate. Zaitsev empathized souls, burning "bloody with his love," as not like a high feeling. Andreeva has meditation about "louds-sins", thoughtlessly floating over "bottomless depths."

The urgent "copyright" in the narration. These origins began updating genre and style structures. The plan of events, the characters' communication was completely simplified, sometimes barely designated (see "Fight" Kupper, "Village" Bunin, "Foma Gordeyev" Gorky). But the limits of mental life are divided, accompanied by refined analysis of the internal states of the character. Often, therefore, the reproduction of several months, even the days have grown to major narratives ("pomegranate bracelet" Cookin, "Brothers" Bunin, "Blue Star" Zaitseva). Sophisticated themes as if requiring unfolded incarnation appeared in the "stingy" form, since difficult problems are determined on behalf of the writer or expressed by the symbolization of phenomena ("Mr. from San Francisco" Bunin, "Life of Vasily Fewish" Andreeva, many of the Gorky stories from the cycle " According to Rus ").

There is a large literature on the continuation of the Tolstsky national and heroic topic in the work of Russian writers. This question is widely set in two collections prepared for the 150th anniversary of Tolstoy (1978) by the Institute of World Literature: "Tolstoy and Our Time", "Tolstoy and Literature of Peoples". The tradition of Tolstoy lives and acts today as an artistic law. "Step forward in artistic Development All mankind, "as V.I. Gorky wrote is the discovery for the literature of the widest horizons of the epic comprehension of the" History of the People "while penetrating every person in the" dialectic of the soul ".

The modern writer can rely on Tolstoy, can argue with him, embodying a new artistic truth in his art, but can not get around the experience of Tolstoy. As L. M. Leonov said, "in our literature it clearly distinguishes the trait, to which there is no thick and after which everything in our spiritual life contains a trace of his creative thought. No matter how rich in our grandfathers who created us the story and the language that laid the foundation of material being, we are richer to them: in all of us there are at least a bitch from Tolstoy. " Soviet writers - Witnesses and participants of the Great Patriotic War - it has repeatedly proved it in their novels, the poses, stories and essays.

Roman-epic Tolstoy - masterpiece of world literature. Gustave Flaubert so expressed his admiration for them in one of the letters of Turgenev (January 1880): "This is a primitive thing! What an artist and what psychologist! The first two volumes are amazing ... I happened to shut off the delight during reading ... Yes, it is strong, very much! " Later, John Golsuorsi called "War and World" "the best novel, which ever was written" 2.

These judgments of outstanding European writers are well known, they quoted many times in articles and books about the thick. In the last "time, the time became known in Russian translation and many new materials were published, testifying to world recognition of the Great Epopea of \u200b\u200bTolstoy. They are collected in the 75th volume of the "literary inheritance" (released in 1965).

The high moral pathos "War and the World" worries the writers of the 20th century, witnesses of new devastating wars, in a much greater degree than the contemporaries of Tolstoy.

Louis Aragon testifies: "This novel - perhaps the greatest of all, which ever were written, became the subject of the Passion of the French in 1942-1943. ... for it all happened as if Tolstoy did not finish it to the end, and as if the Red Army, who had rebuffed by the Swastika's carriers, finally breathed his genuine meaning into the novel, brought to him the great whirlwind, which shook our souls. " According to the book Tolstoy, the whole world recognized and finds out what Russia is.

Finally, artistic laws open to Tolstoy in the "War and the World" make up and still a continuous sample. Dutch writer Tyun De Fens spoke in this way: "The novel" War and the World "is always capturing me. He is unique. " In our age it is difficult to find a person (in any language he said), who would not know the "war and peace". In this book, artists, reincarnating it in the traditional (Opera S. Prokofyeva) and in completely new, unknown arts, similar cinema and television in the time of the thick forms of art, are looking for inspiration. To help the reader deeper, clearer, thinner to understand the poetic word, its strength and beauty is the main task and the condition of their success. They give the opportunity to see the real life, the love of which dreamed of awaken the tolstoy book.

Throughout his life, Ivan Alexandrovich Goncharov wrote a cycle of essays "Fregat" Pallada "and three novels -" Ordinary History "," Oblomov "and" Open ". The writer said that these are not three separate novels, but one. The novel "Oblomov" appeared in the press, when a new social relationship was to change the old, the serf era, when the new layer was in full swing in Russia, the so-called "third class", the class of the bourgeoisie. Industrial development required a different pace of life, expanding cities, improving communication; but old, not yet dead semi-feudal relations, "Barity" tor

Try on the read excerpt to recreate the image of the Russian craft, give it a characteristic. What mood owns fighters? How is it expressed? Russian warriors rush into battle, following the military duty, inspired by a sense of love for Russia and faith in Peter I. The army welcomes the emperor with shouts: "Hurray!", Unconditionally believes him, goes for him. Soldiers show in a fatal combat and resistance, the ability to withstand the hardest tests. This is the true cause of the victory of Russia. Explain the meaning of words and expressions as "Sons of Favorite Victory", "Battle Field Field", "T

We will always glorify a woman, whose name is a mother. Mussea Jalylobility of why the bed, its heat is the natural need of a person. The one who forgets the father's threshold remains a person without the past, without a pedigree, such is called "Ivanov, who do not remember the kinship".. The house of the house appears in childhood and is growing from year to year. Of course, first of all it is connected with mom. Little and defenseless come in this world and immediately plunge into the heat maternal love And care, hearing her tender voice, singing over our crib. Of all this is a children's memory, the feeling of native

The most traditional in the literature "Knowledge" was, maybe creativity Alexandra Ivanovich Kompanov (1870-1937), although the writer in the earliest things experienced an obvious effect of the decadent motifs of modernists. Cooker, whose creativity was formed during the revolutionary lifting, was particularly close to the topic of the "insight" of a simple Russian man, greedily looking for the truth of life. The development of this topic and dedicated to the writer mainly. His art, as K. Chukovsky said, was inherent in the vision of the "vision of the world", the "concreteness" of this vision, the constant desire for knowledge. The "informative" pathos of Kuprinsky creativity was combined with passionate personal interest in the victory of good over all sorts of evil. Therefore, most of its works "inherent violent dynamics, dramatic, emotion."

Biography A. I. Kupper is similar to "Roman Adventure". According to the abundance of meetings with people, life observations, she resembled Gorky's biography. Kubrin wandered a lot in Russia, fulfilling the most diverse work) ": he was a fechelonist, a loader, sang in the church choir, played on stage, worked as a surveyor, served at the Russian-Belgian society factory, studied a medical work, fished in Balaclava.

In 1873, after the death of her husband, the Mother Cook, who originated from the family of impoverished Tatar princes, was without any money and moved from the Penza province to Moscow. Childhood has held his Kurpource with her in Moscow Widow house On Kudrinskaya, then it was determined to the orphan board and the Cadet Corps. In these state institutions, as Kubrin recalled later, the atmosphere of violent respect for older, impersonality and halchairs reigned. Mode cadet corpsIn which Kubrin spent 12 years, he left a trace in his soul. It originated herein in case of human suffering, hatred to any violence over man. The mindset of the Kuprin of that time was expressed in its largest student poems 1884-1887. Kuprin transfers from Heine and Berance, writes poems in the spirit of civilian lyrics A. Tolstoy, Nekrasov, Naston. In 1889, already being a junker, he publishes his first prose art - Story "Last Debut". one

At the Early Stage of Creative Development, Kubrin experienced a strong influence of Dostoevsky, manifested in the stories "Fogging", "Lunar Night", "Madness", "Caprice of Diva" and in others who later enter the book "Miniatures" (1897). He writes about the "fatal moments", the role of the case in human life, analyzes the psychology of passions. At the work of the Cookin of those years, the influence of the naturalistic concept of human nature, in which the biological principle prevails over social. In some stories of this cycle, he wrote that the human will is helpless before the spontaneous randomness of life, which reason cannot know the mysterious laws that manage human actions ("happy carga", "lunar at night").

A decisive role in overcoming literary stamps coming from the Interpreters of Dostoevsky - Decadents of the 1890s was played by the work of Kupper in periodical press and his immediate acquaintance with the real Russian life of that time. From the beginning of the 1890s, he actively cooperates in provincial Russian newspapers and magazines - in Kiev, Volyn, Zhytomyr, Odessa, Rostov, Samara, writes Fakelona, \u200b\u200breports, advanced articles, poems, essays, stories, experiences themselves in almost all genres of journalism . But more and more than the mouth writes the essays. And they demanded knowledge of the facts of life. Essaying work helped the writer overcome the impact of inorganized for his world literary traditionsShe became stage in the development of his realism. Kubrin wrote about the production processes, about the work of metallurgists, miners, artisans, cruel operation of workers at factories and mines, on foreign joint-stock campaigns, flooded Russian Donetsk pool, etc. Many motives of these essays will be sacrificed in his lead "Moloch".

Feature of the essay of the Kupper of the 1890s, which in the form of its form is usually a conversation of the author with the reader, there was a broad summary, clarity scene lines, simple and simultaneously detailed image of production processes. In essays, he will continue the tradition of the Russian democratic essay literature of the previous decades. G. Uspensky was the greatest influence on the shop-sketch.

The work of the journalist, who forced Kompanov to turn to the urgent problems of time, contributed to the formation of democratic views from the writer, developing creative style. At the same years, Kurrun publishes a series of stories about people, rejected by society, but keeping high moral and spiritual ideals ("Supil", "Painting", "Blessed", etc.). Ideas and images of these stories were traditional for Russian democratic literature.

Creative quest Cardica of this time ended the story "Moloch" (1896). Kubrin shows more and more aggravating contradictions between capital and under-million labor. Unlike many contemporaries, he managed to catch social features newest Forms capitalist development in Russia. An angry protest against the monstrous violence over the person, which is based in the world of "Molo". Industrial flourishing, satirical show of new owners of life, exposing a non-free predatoryness in the country of alien capital - all this reported to lead a large social urgency. The tale of Kuprin raised doubt on the theory of bourgeois progress, preached at that time by sociologists.

The story is called "Moloch" - the name of the ammonitian idol, a small semitic tribe of antiquity, which did not leave anything in history, except for the name of the bloodthirsty idol, into a hot mouth of which threw people who were sacrificed. For Kubrin, Moloch is also a factory where human life is dying, and his master is a quashan, but first of all, this is a symbol of capital forming a psyche of Kvashnin, a crushing moral relations in the family of Zainenko, a morally crushing Frezovsky, who crossed the Personality of Bobrov. Kubrin condemns the world of Molok - Property, Morality, civilization, based on the slave work of the majority, condemns from the standpoint of the natural requirements of human nature.

The story was an important stage in creative development Cooker. From essays and stories, he first appealed to the big literary form. But here the writer has not yet moved away from the usual techniques of the composition of the artistic work. In the center of the story - the history of the life of the engineer Andrei Bobrova, a typical intellectual of the democratic literature for those years. Bobrov does not accept the world of Quashnin, trying to fight social and moral injustice. But the protest it goes out, for it has no public support. Kubrin carefully draws the inner world, spiritual experiences of the hero; All events in the story are given through his perception. Bobrov is shown only as a victim public building. This "sacrifice" is indicated by Cuprine at the beginning of the story. For active protest, beavers are morally weak, broken by the "horror of life." He wants to be a useful society, but it is aware that his work is only a means of enriching quashers, sympathize with the workers, and it does not know how and not solve. A man with an exacerbily sensitive conscience, close to Garshin's heroes and some heroes Chekhov, sensitive to someone else's pain, inappropriate, oppressing, he tolerate defeat even before the struggle.

Kubrin talks about life and protest workers against the milk, about the first glimpses of their social self-consciousness. Workers will rebel, but Quastery triumph. Bobrov wants to be with the workers, but understands the groundlessness of his participation in the social struggle: he is between fighting camps. The working movement appears in the story only the background of the psychological throwing of the hero.

The Democratic position of Kupper dictated him the basic idea of \u200b\u200bthe story, determined her critical pathos, but the ideals on which the criticism of Kuprin was founded and which were opposed to the anti-human ideals of the world of Quashnin, were utopian.

On what positive ideals was the founded Social Criticism? Who is his positive heroes? In search of moral and spiritual ideals of life, which the writer contrasted the ugliness of modern human relations, the Kuprin appeals to the "natural life" of the depleges of this world - vagrants, beggars, artists, starving unrecognized artists, children of the poor urban population. This is the world of people nameless, which, as V. Borovsky wrote in an article about Cuprene, form a lot of society and on which all sense of their existence is particularly reliefing. Among these people, Kuprin and tried to find his positive heroes ("Lidchka", "Lokon", " Kindergarten"," Allez! "," Wonderful doctor "," in the circus "," white poodle ", etc.). But they are victims of society, not fighters. The inhabitants of the deaf angles of Russia, free tramps, people, people, people, people, Close nature, preserved spiritual health, freshness and cleanliness of feelings, moral freedom. So Kuprin came to his ideal of a "natural person", free from the influence of bourgeois civilization. The opposition of the bourgeois-bourgeois world of nature of nature becomes one of the main topics of his creativity. It will be embodied in a wide variety of options, but the inner meaning of the main conflict will always remain the same - the collision of natural beauty with the disgrace of the modern world.

In 1898, Kuprin writes on this topic the story "Olesya". The scheme of the story of the literary and traditional: an intellectual, an ordinary man, blessing, timid, in the deaf corner of Polesia meets with a girl who grew out of society and civilization. Kuprin gives her a bright character. Olesya is distinguished by immediacy, wholeness, mental wealth. The plot diagram is also traditional: meeting, origin and drama "unequal" love. By poetizing a life that is not limited to modern social and cultural frameworks, Kuprin sought to show the obvious benefits of a "natural person", in which he saw spiritual qualities lost in a civilized society. The meaning of the story is to approve the high "natural" norm of a person. The image of a "natural person" will pass through the creativity of the carrine from the works of the 1900s to recent rates and the stories of the emigrant period.

But the buyer-realist was quite clearly aware of the abstractness of his person's ideal; No wonder in a collision with the real world, with the "unnatural" laws of reality "Natural" Hero always suffered a defeat: or refused to fight, or became an outcast of society.

With the burden of all the not perverted bourgeois civilization associated with Kuprin and a love attitude towards the native nature. Nature lives at the shop full, independent life, the freshness and beauty of which again is opposed to the unnatural norms of the human hostel. Kubrin as an artist-landscape system has largely learned the tradition of landscape painting Turgenev.

The flourishing of creativity Kuprin falls on the years of the first Russian revolution. In the ego, he becomes widely known for the Russian reading public. In 1901, Kuprin arrives in St. Petersburg, comes closer with the Writers "Environment". His stories praise Tolstoy and Chekhov. In 1902, Gorky introduces it to the circle of "knowledge," and in 1903 this publisher comes out the first thing of its stories.

During these years, Kuprin lives in an atmosphere of intense social and political life. Under the influence of revolutionary events, its contents change social critics: It becomes more and more specific. Acquires a new sound and the topic of a "natural person." Hero "Night Shift" (1899) Soldier Merkulov, Loving Earth, Nature, Field, native song, no longer conditionally literary type, but a very real image of a person from the folk medium. Kubrin gives it the eyes of "surprisingly gentle and pure color." Merkulov is extended by a degrating man with a barrack service, Army Mustra. But he does not humble with his position, his reaction to the surrounding acquires the form of a social protest. The "natural man" Kurris takes place in the pre-revolutionary era, a peculiar way of social concretization. From the images of the "night shift" stretch the threads to the images of the heroes of the 1900s, wrinkling social injustice of life.

Changes in issues led to new genre and style features of the Kompanovsky Novel. In his work, the type of novels, which is considered to be called "problem novel" in criticism and tie with the traditions of the late Chekhovsky story. Such a novel is built on an ideological dispute, a collision of ideas. The ideological conflict organizes a composite and figurative system of the work. The collision of old and new truths found in the process of ethical or philosophical quest may occur in the consciousness of one hero. In the work of Kupper, a hero appears in the dispute with his "truth" of life. Tolstovsky techniques of analyzing the internal life of a person ("swamp" and others) were greatly influenced on the novel. Creative proximity is established. Cooker to Chekhov's letters. In the 1900s, he enters the sphere of "Chekhov topics." Heroes of Kurpra, as well as Heroes Chekhov, ordinary average people who form the "mass of society." In the work of Chekhov, Kuprin saw a very close to himself - democracy, respect for man, the rejection of vitality, sensitivity to human suffering. Chekhov especially attracted Cupper with sensitivity to social issues of modernity, the fact that he was worried, suffered and sought to all what Russian best people were sick, "as he wrote in 1904 in the article" Memory Chekhov ". Cooker was close to Chekhov's theme of the beautiful future humanity, the ideal of a harmonious human person.

In the 1900s, Kuprin experienced the impact of ideas, themes and Gorky creativity. Protesting against public inertia and spiritual poverty of the meshness, he opposes the world of owners, their psychology freedom of thought and feelings of people, who are rejected by this society. Gorky images of Bosyakov provided a direct impact on some images of the junk. But they were acknowledged very peculiar, in the key characteristic of him. If for Gorky romantic images of Bosyakov were not at all carriers of the future, the force that will reinstall the world, then Kuprina even in the 1900s, Bosyatskaya Volnitsa seemed to be a revolutionary power of society.

The abstractness of social thinking of Kuprin, based on the commocratic ideals, also affected his works on the "philosophical" topics. Criticism has repeatedly noted the subjectivism and social skepticism of the story of the journal of the Evening Guest, written in 1904, on the eve of the revolution. In it, the writer spoke about the impotence of a lonely man, lost in the surrounding world.

However, not these motives determine the main pathos of the Cardic. The writer writes the best work - the story "duel" with the dedication of M. Gorky. The oblast of the story of Kubrin told Gorky in 1902. Gorky approved and supported him. The output "fight" caused a huge socio-political resonance. During the Russian-Japanese war, in the setting of revolutionary fermentation in the army and on the fleet, the story acquired a special relevance and played an important role in the formation of opposition sentiment of Russian democratic officers. No wonder the reactionary print immediately made a criticism of the "Kramol" product of the writer. The Kubrin loosened one of the main maintenance of the autocratic statehood - a military cast, in terms of decomposition and moral decline of which he showed signs of expansion of the entire social system. Gorky called the "duel" of an excellent story. Kubrin, he wrote, provided an officer a large service, helped with honest officers "to know myself, his position in life, all his abnormality and tragedy."

The problems of "fight" comes far beyond the limits of the problems of the traditional military story. Kubrin spoke about the causes of public inequality of people, about the possible ways of liberating a person from the spiritual oppression, about the relationship between the individual and society, the relationship of the intelligentsia and the people, about the growing social self-consciousness of the Russian person. In the "duel" found a vivid expression progressive parties to Cookick's creativity. But at the same time, the "embryos" of those "delusions" of the writer who were especially manifested in his later works were outlined.

The basis of the plot of "fight" is the fate of an honest Russian officer, whom the conditions of army barrage caused to feel all the misunderstanding of the social relations of people. And again, Kurpur says not about prominent personalities, not about heroes, but about Russian officers and soldiers of the ordinary army garrison. Mental, spiritual, everyday aspirations of officers of chalk and limited. If at the beginning of the story, Kubrin wrote about bright exceptions in this Mirka - about dreamers and idealists, then in life without ideals, limited by the framework of caste conventions and career aspirations, they begin to descend. Feeling spiritual fall Arrives the Nikolaev, and Romashov. Both are striving to find a way out, both internally protest against the moral oppression of the medium, although the basics of their protest are different, if not opposed. The comparison of these images is extremely characteristic of the junk. They seem to symbolize two types of attitude to life, two types of world view. Shurochka - a peculiar twin of Nina Zinenko from the "Moloch", who killed a clean feeling, high love for a favorable life deal. The regimental atmosphere Tomit her, she rushes "to a disorder, light." "I need a society, a large, present society, light, music, worship, thin flattery, smart interlocutors," she says. Such life seems to her free and beautiful. For Romashov and other officers of the army garrison, it as if personified protest against the Meshchansky well-being and stagnation. But, as it turns out, she strives, in essence, to a typical Meshchansky ideal of life. Combining her aspirations with her husband's career, she says: "... I swear - I will make it a brilliant career. I know the languages, I will be able to keep myself in some kind of society, I have - I don't know how to express it - there is such Flexibility of the soul that I'll find everything in everywhere, to adapt to all ... "Shurochka" fit "and in love. She is ready to sacrifice for his aspirations and his feeling, and Love Romashov, moreover - his life.

The image of Spurok causes the reader a dual attitude, which is explained by the dual attitude and the author himself to the heroine. The image of it is drawn by light colors, but at the same time, its calcability and selfishness in love is clearly unacceptable for the junk. He is closer to the reckless nobility of Romashov, his noble skill than the egoistic will of the Shurachochki. She pulled into the name of the egoistic ideal of the face, which separated it from disinterested and sacrificing in the name of love and well-being of genuine Kurpric heroines, the moral purity of which he always contrasted the narrowness of the calculating Meshchansky feeling. This image will be in subsequent works of Kurrick vary with an emphasis on different sides of character.

The image of Romashova is the Kuprin "natural person", but set into specific conditions of social life. Like Bobrov, this is a weak hero, but already capable of "insight" to resistance. However, its rebellion is tragically doomed, in a collision with the calculating will of other people predetermined and its death.

Romashov's protest against the medium is based entirely on other than those of Shurachochka, aspirations and ideals. He entered into life with the feeling of injustice to his fate: dreamed of a brilliant career, he had seen himself a hero in his dreams, but real life destroyed these illusions. In criticism, Romashov's proximity, seeking the ideal of life, the heroes of Chekhov, the heroes of the Chekhov warehouse. This is true. But, unlike Chekhov, Kubrin puts his hero before the need for immediate action, the active manifestation of his attitude towards the surrounding. Romashov, seeing how his romantic ideas about life rushes, his own fall feels: "I fall, fall ... what for life! Something close, gray and dirty ... We are all ... All forgot what Another life. Somewhere, I know where, they live at all, completely different people, and they have such a complete life, such a joyful, such a real. Somewhere people fight, suffer, love wide and strongly ... as we live! As we live! "As a result of this, the insight is painfully breaking naive moral ideals of it. It comes to the conclusion about the need for resistance to the environment. In this situation, the new look of the carridge is affected by the hero to the environment. positive hero his early stories Lained activity, and the "natural person" always tolerated defeat in a collision with the environment, then in the "fight" shows the growing active resistance of a person of social and moral inhumanity of the medium.

The impending revolution caused the awakening of public consciousness from a Russian person. These processes of "straightening" personality, the restructuring of the social psychology of a person of a democratic environment objectively affected the work of Kuprin. It is characteristic that the spiritual fracture of Romashova comes after meeting him with a soldier Khlebnikov. Brought to despair by mockery from Feldfelle and officers, Khlebnikov is ready for suicide in which he sees the only way out of martyr. Romashov shocked by his suffering. Seeing a man in a soldier, he begins to think not only about his own, but also about popular fate. In the soldiers, he sees those high moral qualities that are lost in the officer's environment. Romashov as it were from their point of view to evaluate the surrounding. Characteristics of the folk mass change. If the Kukrin draws people from the people as a "total" background, the amount of units, then in the "duel" of the characters of soldiers are clearly differentiated, reveal various verge of popular consciousness.

But what is the positive basis of Kriticism Kuprin; What positive ideals now argues Kubrin; What is the causes of public contradictions and the path of their permission? Analyzing the story, the answer to this question is uniquely impossible, because there is no unambiguous answer for the writer itself. Romashov's attitude to a soldier, an oppressed person, clearly contradictory. He speaks of humanity, fair life, but Himanism is abstract. Call to compassion in the years of the revolution looked naive. The story ends with the death of Romashov on a fight, although, as Kuprin Gorky told, he first wanted to write another work about Romashov: to bring the hero after the fight and resignation on wide expanses of Russian life. According to the conceived story ("beggars") was not written.

In the show of a challenging spiritual life, the Kurpric Hero clearly relied on the tradition of psychological analysis of L. Tolstoy. As with Tolstoy, the prolelition of the hero, the Hero gave the opportunity to join the copyright vote and the protesters of the Hero's voice, who saw "unreality", injustice, stupid cruelty of life. Following Tolstoy Kurpric, a monologue of the hero gives a psychological disclosure of character, as if directly introducing the reader into the inner world of Romashov.

In the "duel" writer uses favorite composite reception Substitutions to the hero of the resonance, which, being a peculiar second "I" author, adjusts the hero, promotes the disclosure of its inner world. In conversations, disputes with him hero expresses his hidden thoughts And the Duma. In the "Moloch" the resonant hero is Dr. Goldberg, in the story "Fight" - Vasily Nilovich Nashansky. Obviously, in the era of the growing revolutionary "inconsistency", the masses of the Kuprin himself realized the inconsistency of the call for humility, non-resistance and patience. Understanding the limitedness of such passive person, he tried to oppose such principles of public morality, in which, in his opinion, it would be possible to establish a truly harmonic relationship of people. The carrier of the ideas of such social ethics acts in the story of Nasansky. In criticism, this image was always estimated ambiguous, which is explained by its internal contradiability. Nasansky is defined radically, in his critical speeches, the romantic premonitions of the "light life" the voice of the author himself is heard. He hates the life of a military caste, will hold the coming social shocks. "Yes, time will come," says Nazansky, "and it is already at the gate ... If slavery lasted the century, then it will be terrible. The more empathously there was violence, that the bloody will be ..." He feels that ".. .Girth away from our dirty, stinky standings are accomplished by a huge, new light life. New, bold, proud people appeared, in the minds of fiery free thoughts. " Not without his influence there is a crisis in Romashov's consciousness.

Nasansky appreciates living life, its immediacy and beauty: "Oh, how beautiful it is. How much joy gives us one eyesight! And there is music, the smell of flowers, sweet female love! And there is an immense pleasure - the Golden Sun of Life - Human Thought!" These are the thoughts of the church itself, for which high pure love - Holiday in the life of a person, almost the only value in the world, its elevation. This is the topic given in Nazansky's speeches, in full force will sound later in the work of the writer ("Sullaif.", "Pomegranate bracelet" and others).

The poetic program Nazansky concluded the deepest contradictions. His quest developed ultimately to ideals anarcho-individualistical, to pure aesthetism. The initial point of his program was the requirement of the liberation of the individual. But this is the requirement of freedom of an individual. Only such a "free personality" can, according to Nazansky, fight for social liberation. Improving human individuality, subsequent "liberation", and on this basis already social transformations are such for the Nazan stages of the development of human society. His ethics is based on extreme individualism. He speaks about the society of the future as the community of free egoists and comes naturally to the denial of all civil obligations of the individual, immersing it in the sphere of intimate experiences and empathy. Nasansky to a certain extent expressed and the ethical concept of the author himself, to which Kuprin was led by the Logic of the Revolution of 1905-1907. from the standpoint of the commocratic "non-partisanity." But despite this, the story played a revolutionizing role in society.

The trends of the revolution reflected on other works of the writer written at that time. The story "Staff-Captain Rybnikov" passes a dramatic atmosphere of the end of the Russian-Japanese war. Kubrin, like Veresaev, writes about the shame of defeat, decomposition of army tops. The growth of the sense of human dignity, the feeling of moral recovery of life, which has brought the revolution, is permeated by the story of "Abdomen". Then the story "Gambrinus" (1907) was written - one of the best artistic works of the writer. The action of the story covers the time from the Russian-Japanese war to the reaction after the defeat of the revolution 1905-1907. Hero of the story of the violinist Jew Sasha becomes a victim of storms-blacks. An crippled man, with a worried hand, which can not already hold the bow, returns to the zucchini to play his friends-fishermen on a pitiful twin. The pathos of the story - in approval of no exterminable thrust of a person to art, which, like love, in the view of Kupin there is a form of incarnation of the eternal beauty of life. So again social problem And in this story was transferred to the plane of ethical and aesthetic problems. Sharply criticizing the criticized man, social and moral blackness, the Kuprin suddenly shifts the focus from social criticism for the approval of the eternity of art, overcoming all the temporary and transient: "Nothing! A person can be crushed, but the art will completely break down and wins everything." These copyright words and ends the story.

In the 1900s, the style of Kuprin is changing. Psychologist and characteristic "Looping" are combined with a direct copyright-emotional expression of ideas. This is typical for the "fight" and many stories of the time. Nazansky monologues are imprudely emotional, satiated by the paths, rhythmized. High lyricism is broken into the tissue of epic narration ("duel", "Gambrinus", etc.). Images are sometimes hyperbulized, the articulated system of the work is built on sharp psychological contrasts. Just like Veresaev, at this time, the legend ("happiness", the legend), the general trends in the development of Russian realistic prose affected the 1900s.

In the era of the reaction, the oscillations of the jacket between progressive-democratic views and anarchind attitudes are detected. From the Gorky "Knowledge", the writer goes to the Publisher "Roshovnik", is printed in Artsibashev collections "Earth", it falls under the influence of additional sentiments, which were so characteristic of certain circles of Russian intelligentsia in the reaction era. Social skepticism, the feeling of the futility of public aspirations become a pathos of a number of its works of those years. Gorky in the article "Personal Defense" (1909) wrote about the story of the jacket "Sea disease" with pain and grief, sorry that the story was objectively in the flow of that literature, which questioned high human feelings. The temporary failures of the revolution are absolutized by the writer. Skeptically evaluating the coming perspectives social Development, Kubrin approves as genuine values \u200b\u200bof life only high human experiences. As before, Love sees Kupurin the only negligent value. "There were kingdoms and kings," but there were no trace from them ... There were long, merciless wars ... But the time erased even the very memory of them. The love of a poor girl from the vineyard and the Great Tsar will never pass and not forget " - He writes in 1908 in 1908 in the story of "Sullaph", created based on the biblical "song song". This is a romantic poem about the dedication and nobility of love, triumphant lying in the world, hypocrisy and vice, love, which is stronger than death.

During these years, the writer's interest in the world of ancient legends, history, antiquity increases. In his work there is an original alloy of the prose of life and poetry, real and legendary, valid and romantic feelings. Kubrin is to exotic, develops fantastic plots. He returns to the themes of its early easelistics. The motives of the irrelaimed power of the case sound again in his works, again the writer places reflections on the deep alienation of people from each other.

The crisis of realism of the writer testified his failure in a major narrative form. In 1909, the first part of the big story of the Yama Kukrin appeared in Arzybashevsk "Earth" (the second part was released in 1915). The story said the obvious descent of the Kuprin realism to naturalism. The work consists of scenes, portraits, details characterizing the life of the inhabitants of the public house. And all this is outside the general logic of the development of characters. Private conflicts are not reduced to the overall conflict. The story clearly disintegrates on the descriptions of the individual details of the life. The product is built according to the scheme characteristic of the KUPROV, here even more simplified: the meaning and beauty is in nature, evil - in civilization. The Kuprin seems to personify the truth of the "natural" being in his heroes, but the truth is defined and perverted by the Meshchansky world order. In the description of their life, Kurpur loses the feeling of vital contradictions of the specific Russian reality of that time. The abstraction of the author's thoughts limited the critical force of a story aimed against social evil.

And the question arises again about the values \u200b\u200bthat Kubrin claims during this period in their work. Sides the writer is confused, filled with skepticism, but he holy honors humanity, talking about the high appointment of a person in the world, about the strength of his spirit and feelings, about the life-giving life for the life of nature, whose particle is a person. Moreover, the lives of life are associated with a writer with a folk medium.

In 1907, Kubrin writes - under the obvious influence of L. Tolstoy - the story "Emerald" on the cruelty and hypocrisy of the laws of the human world. In 1911, creates a story "Pomegranate bracelet". This is "one of the most pruburate" love stories, as K. Powhsky said about him. Vulgarity of the world The artist opposes the sacrificial, disinterested, reverent love. To touch the mystery of her little yolk official can not allow and does not allow anyone. As soon as it concerns the breath of vulgarity - the hero cums up with him. For Kupper, love is the only value, the only means of the moral transformation of the world. In the dream of the love of yolks, there is a salvation from the vulgarity of real life. In the illusory, the heroes of the "Travelers", "Holy Fali" (1914) are saved in the illusory, imaginary world.

However, in a number of stories written in the same years, Kubrin tried to point out the real signs of high spiritual and moral values \u200b\u200bin reality. In 1907-1911. He writes a cycle of sketches "Litriped" about the Crimean fishermen, about the integrity of their natures, educated by labor and proximity to nature. But these images are inherent in the abstract idealization (Balaklava fishermen is both "Litripeds" - the fishermen of the Gomeov epic). Kuprin is synthesized in "Listrigons" XX century. The eternal features of the "natural man", the Son of Nature, seeker. Essays are interesting to the attitude of the writer to the values \u200b\u200bof life: in the reality itself, the junk attracted the high, bold, strong. In search of these began, he applied to popular Russian life. The works of the Cook in the 1910s are distinguished by the extreme deposit, the maturity of artistic skill.

The ideological contradictions of Kuprin manifested themselves during the First World War. The chauvinistic motives sounded in his jewelry performances. After October, Kurin works along with Gorky in the publishing house "World Literature", deals with translations, participates in the work of literary and artistic associations. But in the fall of 1919, emigrates - at the beginning of Finland, then to France. From 1920, Kuprin lives in Paris.

The works of the Kuprin of the Emigrant Time in content and style are sharply different from the works of the pre-revolutionary period. Their main meaning - longing to the abstract ideal of human being, a sad look in the past. Consciousness of cutoff from their homeland turns into a tragic sense of doom. A new stage of passionateness of Cookin L. Tolstoy begins, primarily his moral teaching. Focusing on this topic, Kubrin writes fairy tales, legends, fantastic negotia, in which the freedom and non-bizarre, wonderful and domestic. He again begins to sound the topic of rock, the authorities of the case over man, the topic of unknowable terrible forces, before which the person is powerless. In other things, the relationship of man and nature is recognized, but to obey her, a person must merge with her; Only so can he, according to the thought of Kupper, keep the "live soul". This is already a new turn of the topic of "natural state".

Features of creativity Cooks of the emigrant period are synthesized in the Roman "Zhanet" (1932-1933), the work of the loneliness of a person who lost his homeland and did not find a place in a foreign country. It tells about the history of the touching attachment of the old single professor, which turned out to be emigration, to a small Paris girl - a daughter of street newspaper. Professor wants to help Janet to comprehend the infinite beauty of the world, in the good of which he, despite the bitter vanity of fate, never ceases to believe. The novel ends the fact that the friendship of the old professor and the "Princess of four streets" - the little man of Janet - dramatically breaks down: the parents take a girl from Paris, and the professor remains alone, which is asked only by the society of his only friend - Black Cat Friday. In this novel, Cookina managed to show the collapse of the life of a man who lost his homeland. But the philosophical novel novel in another - in the statement of purity human soul, her beauty that a person should not lose under any life circumstancesDespite adversity and disappointment. So the idea of \u200b\u200b"pomegranate bracelet" and other works of the Kurpan of the foreflower decade transformed into the "Jaet".

Characterizes this period of creativity writer care for personal experiences. The major work of Kuprick-emigrant is a memoir novel "Juncker" (1928-1932), in which he talks about his life in the Moscow Alexandrovsky School. This is basically the history of the Sami School. The nature of the autobiographical hero is given outside spiritual and intellectual development. Social circumstances of Russian life from the work are excluded. Only occasionally breaks in the novel critical notes, the sketches of the Burstsky regime of the royal military educational institution arise.

Unlike many emigrant writers, Kuprin did not lose faith in the kindness of man. He spoke about the eternal wisdom of life, the celebration of good, called on to admire the beauty of nature, which would have understood, the person will be "much more worthy of noble immortality than all the inventors of the machines ..."

In everything he wrote at that time Kuprin, one and the same note was always made - longing in the native country. At the end of life, Kuprin found the strength to return home to Russia.

• Cyt. by: Kubrin A. I. Cathedral So.: In 9 t. M., 1964. T. 1. P. 29.
• Cm.: Gorky M. Cathedral So.: In 30 t. T. 28. P. 337.