Historical personalities in the work of Kuprin. Life and creative path A
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A bright representative of realism, a charismatic personality and simply a famous Russian writer of the early 20th century - Alexander Kuprin. His biography is eventful, quite heavy and overflowing with an ocean of emotions, thanks to which the world has known his best creations. "Moloch", "Duel", "Pomegranate Bracelet" and many other works that have replenished the golden fund of world art.
The beginning of the way
Born on September 7, 1870 in the small town of Narovchat, Penza District. His father is a civil servant Ivan Kuprin, whose biography is very short, since he died when Sasha was only 2 years old. After which he stayed with his mother Lyubov Kuprina, who was a Tatar of princely blood. They suffered hunger, humiliation and deprivation, so his mother made the difficult decision to send Sasha to the department for young orphans at the Alexander Military School in 1876. A graduate of the military school, Alexander, graduated from it in the second half of the 80s.
In the early 90s, after graduating from a military school, he became an employee of the Dneprovsky infantry regiment No. 46. A successful military career remained in dreams, as Kuprin's alarming biography full of events and emotions tells. The summary of the biography says that Alexander did not manage to enter a higher military educational institution due to a scandal. And all because of his hot temper, under the influence of alcohol, he threw a police officer from the bridge into the water. Having reached the rank of lieutenant, in 1895 he retired.
Writer's temperament
A personality with incredibly bright colors, greedily absorbing impressions, a wanderer. He tried many crafts on himself: from laborer to dental technician. A very emotional and extraordinary person - Alexander Ivanovich Kuprin, whose biography is full of bright events, which became the basis of many of his masterpieces.
His life was rather stormy, there were many rumors about him. An explosive temperament, excellent physical shape, he was drawn to try himself, which gave him invaluable life experience and strengthened his spirit. He was constantly striving towards adventure: he dived under water in special equipment, flew on an airplane (almost died due to a disaster), was the founder of a sports society, etc. During the war years, together with his wife, he equipped an infirmary in his own house.
He loved to get to know a person, his character and communicated with people of a wide variety of professions: specialists with a higher technical education, itinerant musicians, fishermen, card players, the poor, clergymen, entrepreneurs, etc. And in order to get to know a person better, to feel his life for himself, he was ready for the craziest adventure. A researcher whose spirit of adventurism simply went off scale is Alexander Kuprin, the biography of the writer only confirms this fact.
With great pleasure he worked as a journalist in many editorial offices, published articles, reports in periodicals. He often went on business trips, lived in the Moscow region, then in Ryazan, as well as in the Crimea (Balaklava district) and in the city of Gatchina, Leningrad region.
Revolutionary activity
He was not satisfied with the then social order and the prevailing injustice, and therefore, as a strong personality, he wanted to somehow change the situation. However, despite his revolutionary sentiments, the writer had a negative attitude towards the October coup led by representatives of the Social Democrats (Bolsheviks). Vivid, eventful and full of various difficulties - this is Kuprin's Biography. Interesting facts from the biography say that Alexander Ivanovich nevertheless collaborated with the Bolsheviks and even wanted to publish a peasant edition called "Land", and therefore often saw the head of the Bolshevik government, V. I. Lenin. But soon he suddenly went over to the side of the "whites" (anti-Bolshevik movement). After they were defeated, Kuprin moved to Finland, and then to France, namely to its capital, where he stayed for a while.
In 1937 he took an active part in the press of the anti-Bolshevik movement, while continuing to write his works. Restless, filled with the struggle for justice and emotions, this was exactly the biography of Kuprin. The summary of the biography says that in the period from 1929 to 1933 such famous novels were written: "The Wheel of Time", "Juncker", "Janet", and also many articles and stories were published. Emigration had a negative effect on the writer, he was unclaimed, suffered hardships and missed his native land. In the second half of the 30s, believing the propaganda in the Soviet Union, he and his wife returned to Russia. The return was overshadowed by the fact that Alexander Ivanovich suffered from a very serious illness.
People's life through the eyes of Kuprin
Kuprin's literary activity is imbued with the classic for Russian writers manner of compassion for the people who are forced to live in poverty in a wretched environment of life. A strong-willed personality with a strong desire for justice - Alexander Kuprin, whose biography says that he expressed his sympathy in creativity. For example, the novel "The Pit", written at the beginning of the 20th century, which tells about the hard life of a prostitute. And also the images of intellectuals suffering from hardships that they have to endure.
His favorite characters are just that - reflective, a little hysterical and very sentimental. For example, the story "Moloch", where the representative of such an image is Bobrov (engineer) - a very sensitive character, compassionate and worried about ordinary factory workers who work hard while the rich ride like cheese in butter with other people's money. Representatives of such images in the story "Duel" are Romashov and Nazansky, who are endowed with great physical strength, as opposed to a quivering and sensitive soul. Romashov was very annoyed by military activities, namely, vulgar officers and downtrodden soldiers. Probably no other writer condemned the military environment as much as Alexander Kuprin.
The writer was not one of the tearful, popular-worshiping writers, although his work was often approved by the famous critic-populist N.K. Mikhailovsky. His democratic attitude towards his characters was expressed not only in the description of their hard life. Alexander Kuprin's people from the people not only had a quivering soul, but he was strong-willed and could give a worthy rebuff at the right moment. The life of the people in Kuprin's work is a free, spontaneous and natural flow, and the characters have not only troubles and sorrows, but also joy and consolation (Listrigone series of stories). A man with a vulnerable soul and a realist is Kuprin, whose biography according to the dates says that this work took place in the period from 1907 to 1911.
His realism was also expressed in the fact that the author described not only the good features of his characters, but also did not hesitate to show their dark side (aggression, cruelty, rage). A striking example is the story "Gambrinus", where Kuprin described the Jewish pogrom in great detail. This work was written in 1907.
Perception of life through creativity
Kuprin is an idealist and romantic, which is reflected in his work: heroic deeds, sincerity, love, compassion, kindness. Most of his characters are emotional people, those who have fallen out of the ordinary rut of life, they are in search of truth, freer and more complete existence, something beautiful ...
The feeling of love, the fullness of life, this is what Kuprin's biography is saturated with, interesting facts from which indicate that no one else could write about feelings as poetically. This is clearly reflected in the story "Garnet Bracelet", written in 1911. It is in this work that Alexander Ivanovich exalts true, pure, free, ideal love. He very accurately depicted the characters of various strata of society, described in detail and in all details the environment surrounding his characters, their way of life. It was for his sincerity that he often received reprimands from critics. Naturalism and aesthetics are the main features of Kuprin's work.
His stories about animals "Watchdog and Zhulka", "Emerald" deserve a place in the fund of world art of speech. A short biography of Kuprin says that he is one of the few writers who could feel the flow of natural, real life in such a way and so successfully reflect it in their works. A striking embodiment of this quality is the story "Olesya", written in 1898, where he describes a deviation from the ideal of natural life.
Such an organic perception of the world, healthy optimism are the main distinguishing properties of his work, in which lyrics and romance harmoniously merge, the proportionality of the plot and compositional center, the drama of actions and truth.
Master of Literary Art
The virtuoso of the word is Alexander Ivanovich Kuprin, whose biography says that he could very accurately and beautifully describe the landscape in a literary work. His external, visual and, one might say, olfactory perception of the world was simply excellent. I.A. Bunin and A.I. Kuprin often competed to determine the smell of different situations and phenomena in his masterpieces and not only ... In addition, the writer could display the true image of his characters very carefully to the smallest detail: appearance, disposition, communication style, etc. He found complexity and depth, even describing animals, and all because he loved to write on this topic.
A passionate life-lover, naturalist and realist, this was exactly what Alexander Ivanovich Kuprin was. The short biography of the writer says that all his stories are based on real events, and therefore are unique: natural, vivid, without obsessive speculative constructions. He pondered the meaning of life, described true love, talked about hatred, volitional and heroic deeds. Emotions such as disappointment, despair, struggle with oneself, strengths and weaknesses of a person became the main ones in his works. These manifestations of existentialism were typical of his work and reflected the complex inner world of man at the turn of the century.
Transitional writer
He really is a representative of a transitional stage, which, undoubtedly, was reflected in his work. A striking type of the “off-road” era is Alexander Ivanovich Kuprin, whose short biography says that this time left an imprint on his psyche, and, accordingly, on the works of the author. His characters are in many ways reminiscent of the heroes of A.P. Chekhov, the only difference is that Kuprin's images are not so pessimistic. For example, technologist Bobrov from the story "Molokh", Kashintsev from "Zhidovka" and Serdyukov from the story "Swamp". The main characters of Chekhov are sensitive, conscientious, but at the same time broken, exhausted people who are lost in themselves and are disappointed in life. They are shocked by aggression, they are very compassionate, but they can no longer fight. Realizing their helplessness, they perceive the world only through the prism of cruelty, injustice and meaninglessness.
A short biography of Kuprin confirms that, despite the writer's gentleness and sensitivity, he was a strong-willed person who loves life, and therefore his characters are somewhat similar to him. They have a strong thirst for life, which they grasp very tightly and do not let go. They listen to both the heart and the mind. For example, drug addict Bobrov, who decided to kill himself, listened to the voice of reason and realized that he loved life too much to end everything once and for all. The same thirst for life lived in Serdyukov (a student from the work "Swamp"), who was very sympathetic to the forester and his family, who were dying of an infectious disease. He spent the night at their house and in this short time almost went crazy with pain, worries and compassion. And with the onset of morning, he seeks to quickly get out of this nightmare in order to see the sun. He seemed to run out of there in a fog, and when he finally ran up the hill, he just choked with an unexpected surge of happiness.
A passionate life-lover is Alexander Kuprin, whose biography says that the writer was very fond of happy endings. The end of the story sounds symbolic and solemn. It says that the fog was spreading at the guy's feet, about the clear blue sky, about the whisper of green branches, about the golden sun, whose rays "rang with jubilant triumph of victory." Which sounds like the victory of life over death.
Exaltation of life in the story "Duel"
This work is the true apotheosis of life. Kuprin, whose short biography and work are closely related, described in this story the cult of personality. The main characters (Nazansky and Romashev) are vivid representatives of individualism, they declared that the whole world will perish when they are gone. They sacredly believed in their beliefs, but were too weak in spirit to bring their idea to life. It is this disparity between the exaltation of their own personalities and the weakness of its owners that the author has caught.
A master of his craft, an excellent psychologist and realist, the writer Kuprin possessed just such qualities. The author's biography says that he wrote "The Duel" at a time when he was at the height of his fame. It was in this masterpiece that the best qualities of Alexander Ivanovich were combined: an excellent writer of everyday life, a psychologist and a lyricist. The military theme was close to the author, given his past, and therefore no effort was required to develop it. The bright general background of the work does not overshadow the expressiveness of its main characters. Each character is incredibly interesting and is a link in the same chain, while not losing their individuality.
Kuprin, whose biography says that the story appeared during the years of the Russian-Japanese conflict, criticized the military environment to smithereens. The work describes the life of war, psychology, reflects the pre-revolutionary life of Russians.
In the story, as in life, an atmosphere of numbness and impoverishment, sadness and routine reigns. Feeling of absurdity, disorder and incomprehensibility of being. It was these feelings that overpowered Romashev and were familiar to the inhabitants of pre-revolutionary Russia. In order to drown out the ideological "impassability", Kuprin described in the "Duel" the licentious nature of the officers, their unfair and cruel attitude towards each other. And of course, the main vice of the military is alcoholism, which flourished among the Russian people.
Characters (edit)
You don't even need to draw up a plan for Kuprin's biography to understand that he is spiritually close to his heroes. These are very emotional, broken-down individuals who are compassionate, indignant because of the injustice and cruelty of life, but they cannot fix anything.
After the "Duel" there is a work called "The River of Life". In this story, completely different moods reign, many liberation processes have taken place. He is the embodiment of the finale of the drama of the intelligentsia, which the writer narrates. Kuprin, whose work and biography are closely connected, does not betray himself, the main character is still a kind, sensitive intellectual. He is a representative of individualism, no, he is not indifferent, throwing himself into the whirlwind of events, realizes that a new life is not for him. And glorifying the joy of being, he nevertheless decides to leave life, since he believes that he does not deserve it, which he writes about in a suicide note to his comrade.
The theme of love and nature are those areas in which the optimistic mood of the writer is clearly expressed. Such a feeling as love, Kuprin considered a mysterious gift that is sent only to the elect. This attitude is reflected in the novel "The Pomegranate Bracelet", which is only Nazansky's passionate speech or Romashev's dramatic relationship with Shura. And Kuprin's stories about nature are simply mesmerizing, at first they may seem overly detailed and ornate, but then this multicolor begins to delight, as the realization comes that these are not standard turns of speech, but personal observations of the author. It becomes clear how he was captured by the process, how he absorbed the impressions that he later reflected in his work, and this is simply enchanting.
Kuprin's skill
A virtuoso of the pen, a man with excellent intuition and an ardent lover of life, this was exactly what Alexander Kuprin was. A short biography tells that he was an incredibly deep, harmonious and internally filled person. He subconsciously felt the secret meaning of things, could connect the reasons and understand the consequences. As an excellent psychologist, he had the ability to highlight the main thing in the text, which is why his works seemed ideal, from which nothing can be removed or added. These qualities are displayed in the "Evening Guest", "River of Life", "Duel".
Alexander Ivanovich did not add anything special to the sphere of literary techniques. However, in the later works of the author, such as "The River of Life", "Head-Captain Rybnikov" there is a sharp change in the direction of art, he is clearly drawn to impressionism. The stories become more dramatic and concise. Kuprin, whose biography is full of events, later again returns to realism. This refers to the novel-chronicle "The Pit", in which he describes the life of brothels, he does it in the usual manner, still natural and not hiding anything. Because of this, it periodically receives condemnation from critics. However, this did not stop him. He did not strive for the new, but he tried to improve and develop the old.
Outcomes
Biography of Kuprin (briefly about the main thing):
- Kuprin Alexander Ivanovich was born on September 7, 1870 in the town of Narovchat, Penza district in Russia.
- He died on August 25, 1938 at the age of 67 in St. Petersburg.
- The writer lived at the turn of the century, which was invariably reflected in his work. Survived the October Revolution.
- The direction of art is realism and impressionism. The main genres are the short story and the story.
- Since 1902 he was married to Maria Karlovna Davydova. And since 1907 - with Heinrich Elizaveta Moritsovna.
- Father - Kuprin Ivan Ivanovich. Mother - Lyubov Alekseevna Kuprina.
- He had two daughters - Xenia and Lydia.
The best sense of smell in Russia
Alexander Ivanovich was visiting Fyodor Chaliapin, who called him the most sensitive nose of Russia when visiting. The evening was attended by a perfumer from France, who decided to check it out, inviting Kuprin to name the main components of his new development. To the great surprise of everyone present, he coped with the task.
In addition, Kuprin had a strange habit: when meeting or meeting, he sniffed people. Many were offended by this, and some were delighted, they argued that thanks to this gift, he recognizes the nature of a person. Kuprin's only competitor was I. Bunin, they often organized competitions.
Tatar roots
Kuprin, like a real Tatar, was very hot-tempered, emotional and very proud of his origin. His mother is from a clan of Tatar princes. Alexander Ivanovich often dressed in Tatar attire: a robe and a colored skullcap. In this form, he loved to visit his friends, relax in restaurants. Moreover, in this vestment, he sat like a real khan and screwed up his eyes for greater resemblance.
Universal man
Alexander Ivanovich changed a large number of professions before he found his true calling. He tried his hand at boxing, teaching, fishing and acting. He worked in a circus as a wrestler, land surveyor, pilot, traveling musician, etc. Moreover, his main goal was not money, but invaluable life experience. Alexander Ivanovich stated that he would like to become an animal, a plant or a pregnant woman in order to experience all the delights of childbirth.
The beginning of writing
He received his first writing experience while still at a military school. It was the story "The Last Debut", the work was rather primitive, but nevertheless he decided to send it to the newspaper. This was reported to the leadership of the school, and Alexander was punished (two days in a punishment cell). He made a promise to himself never to write again. However, he did not keep his word, as he met the writer I. Bunin, who asked him to write a short story. Kuprin was broke at that time, and therefore agreed and bought himself groceries and shoes with the money he earned. It was this event that pushed him to serious work.
This is how he is, the famous writer Alexander Ivanovich Kuprin, a strong physically man with a gentle and vulnerable soul and his own quirks. A great cheerleader and experimenter, compassionate and has a great desire for justice. Naturalist and realist Kuprin left behind a legacy of a large number of magnificent works that deserve the title of masterpieces.
The work of Alexander Ivanovich Kuprin was formed during the years of the revolutionary upsurge. All his life he was close to the theme of the insight of a simple Russian man who eagerly sought the truth of life. Kuprin devoted all his work to the development of this complex psychological topic. His art, in the words of his contemporaries, was characterized by a special vigilance of seeing the world, concreteness, a constant striving for knowledge. At the early stage of his work, Kuprin was strongly influenced by Dostoevsky. It manifested itself in the stories "In the Dark", "Moonlit Night", "Madness". He writes about fateful moments, the role of chance in a person's life, analyzes the psychology of a person's passions. Some stories of that period say that the human will is helpless in the face of spontaneous chance, that the mind cannot cognize the mysterious laws that govern man. A decisive role in overcoming the literary clichés emanating from Dostoevsky was played by direct acquaintance with the life of people, with real Russian reality.
He begins to write essays. Their peculiarity is that the writer usually conducted a leisurely conversation with the reader. They clearly showed clear storylines, a simple and detailed depiction of reality.
Kuprin's first creative quests ended with the largest thing that reflected reality. It was the story "Moloch". In it, the writer shows the contradictions between capital and human forced labor. He was able to grasp the social characteristics of the latest forms of capitalist production. The angry protest against the monstrous violence against man, on which the industrial flourishing in the world of Moloch is based, the satirical display of the new masters of life, the exposure of the shameless predation of foreign capital in the country - all this cast doubt on the theory of bourgeois progress.
In search of moral and spiritual ideals of life, which the writer contrasted with the ugliness of modern human relations, Kuprin turns to the life of vagabonds, beggars, drunken artists, starving unrecognized artists, children of the poor urban population. This is the world of nameless people who form the mass of society. Among them, Kuprin tried to find his goodies. He writes the stories "Lidochka", "Lock", "Kindergarten", "In the circus" - in these works the heroes of Kuprin are free from the influence of bourgeois civilization.
Poetising a life unbounded by modern social cultural frameworks. Kuprin strove to show the clear advantages of a "natural man" in which he saw the spiritual qualities lost in a civilized society (the story "Olesya", where a bourgeois meets a girl who grew up far from civilization and is distinguished by spontaneity and simplicity).
In 1902 Kuprin conceived the story "Duel". In this work, he shook one of the main foundations of autocracy - the military caste, in the lines of decay and moral decline of which he showed signs of decay of the entire social system. The story reflects the progressive aspects of Kuprin's work. The plot is based on the fate of an honest Russian officer, who was forced by the conditions of army barracks to feel the illegality of people's social relations. Kuprin again speaks not of an outstanding personality, but of a simple Russian officer Romashov. The regimental atmosphere torments him, he does not want to be in the army garrison. He became disillusioned with military service. He begins to fight for himself and his love. And the death of Romashov is a protest against the social and moral inhumanity of the environment.
In 1909 Kuprin wrote the story “The Pit”. Here Kuprin pays tribute to naturalism. He shows the inhabitants of the brothel. The whole story consists of scenes, portraits and clearly breaks down into individual details of everyday life. However, in a number of stories written in the same years, Kuprin tried to point out real signs of high spiritual and moral values in reality itself. “Garnet Bracelet” is a story about love. This is what Paustovsky said about him: this is one of the most “fragrant” stories about love.
In exile, he wrote the novel "Janet". This work is about the tragic loneliness of a man who has lost his homeland. This is a story about the touching affection of an old professor who ended up in exile for a little Parisian girl - the daughter of a street newspaper lady. The emigre period of Kuprin is characterized by a withdrawal into himself.
Life experience and work of A. I. Kuprin are extremely closely related to each other. The autobiographical element occupies an important place in the writer's books. For the most part, the author wrote about what he saw with his own eyes, experienced with his soul, but not as an observer, but as a direct participant in life's dramas and comedies. What she experienced and what she saw was transformed in different ways in his work - these were both cursory sketches, and accurate descriptions of specific situations, and deep socio-psychological analysis.
At the beginning of his literary career, the classic paid a lot of attention to everyday color. But even then he showed a penchant for social analysis. In his entertaining book "Types of Kiev" there is not only picturesque everyday exoticism, but also a hint of the all-Russian social environment. At the same time, Kuprin does not delve into the psychology of people. Only after the passage of years, he began to carefully and scrupulously study a variety of human material.
This was especially clearly manifested in such a theme of his work as the army environment. The first realistic work of the writer, the story "Inquiry" (1894), is associated with the army. In it, he described the type of person who suffers at the sight of injustice, but spiritually restless, devoid of volitional qualities and unable to fight evil. And such an indecisive truth-seeker begins to accompany all of Kuprin's work.
Army stories are notable for the writer's faith in the Russian soldier. She makes such works as "Warrant Officer of the Army", "Night Shift", "Lodging for the Night" truly spiritualized. Kuprin shows the soldier as cheerful, with a rude but healthy humor, intelligent, observant, inclined to original philosophizing.
The final stage of creative searches at the early stage of literary activity was the story "Moloch" (1896), which brought real fame to the young writer. In this story, in the center of the action is a humane, kind, impressionable person who reflects on life. Society itself is shown in the form of a transitional formation, that is, one in which changes are brewing that are unclear not only to the actors, but also to the author.
Love played an important role in the work of A.I. Kuprin. The writer can even be called a singer of love. An example of this is the story "On the Road" (1894). The beginning of the story does not bode well for anything sublime. A train, a compartment, a married couple - an elderly boring official, his young beautiful wife and a young artist who happened to be with them. He is interested in the official’s wife, and she is interested in him.
At first glance, this is a story of a banal romance and adultery. But no, the skill of the writer turns a trivial plot into a serious topic. The story shows how a chance meeting illuminates the life of two good people with honest souls. Kuprin built a small work in such a psychologically verified manner that he was able to say a lot in it.
But the most remarkable work dedicated to the theme of love is the story "Olesya". It can be called a forest fairy tale, drawn with the accuracy and precision of details inherent in realistic art. The girl herself is a whole, serious, deep nature, there is a lot of sincerity and spontaneity in her. And the hero of the story is an ordinary person with an amorphous character. But under the influence of a mysterious forest girl, he brightens his soul and, it seems, is ready to become a noble and whole person.
AI Kuprin's work conveys not only the concrete, everyday, visible, but also rises to symbolism, implying the very spirit of certain phenomena. Such, for example, is the story "Swamp". The general coloring of the story is heavy and gloomy, similar to the swamp fog in which the action takes place. This almost plotless work shows the slow death of a peasant family in a forest hut.
The artistic means used by the classic are such that there is a feeling of a disastrous nightmare. And the very image of a forest, dark and ominous swamp acquires an expanded meaning, creates the impression of some kind of abnormal swamp life smoldering in the gloomy corners of a huge country.
In 1905, the story "The Duel" was published, in which the methods of psychological analysis indicate Kuprin's connection with the traditions of Russian classics of the 19th century. In this work, the writer showed himself to be a first-class master of words. He once again proved his ability to comprehend the dialectics of soul and thought, artistically draw typical characters and typical circumstances.
A few words should also be said about the story "Headquarters Captain Rybnikov". Before Kuprin, no one in Russian and foreign literature had created such a psychological detective story. The fascination of the story lies in the picturesque two-sided image of Rybnikov and the psychological duel between him and the journalist Shchavinsky, as well as in the tragic denouement that occurs under unusual circumstances.
The stories of Listrigones, which tell about the Balaklava fishermen-Greeks, are fanned with the poetry of labor and the scent of the sea. In this cycle, the classic showed in all its beauty the original corner of the Russian Empire. In the stories, the concreteness of the descriptions is combined with a kind of epic and simple-minded fabulousness.
In 1908, the story "Shulamith" appeared, which was called a hymn to female beauty and youth. This is a prose poem that combines sensuality and spirituality. In the poem there is a lot of bold, daring, frank, but there is no falsehood. The work tells about the poetic love of a tsar and a simple girl, ending tragically. Shulamith becomes a victim of the dark forces. The assassin's sword slays her, but he is unable to destroy the memory of her and her love.
I must say that the classic has always been interested in "small", "ordinary people." He made such a person a hero in the story "The Pomegranate Bracelet" (1911). The point of this brilliant story is that love is as strong as death. The originality of the work lies in the gradual and almost imperceptible growth of the tragic theme. And there is also a certain Shakespearean note. It breaks through the quirks of the ridiculous official and captivates the reader.
The story "Black Lightning" (1912) is interesting in its own way. In it, the work of A.I. Kuprin opens from another side. This work depicts provincial provincial Russia with its apathy and ignorance. But also shown are those spiritual forces that are hidden in provincial cities and from time to time make themselves felt.
During the First World War, such a work as "Violets" was published from the pen of the classic, glorifying the springtime in human life. And the continuation was the social criticism embodied in the story "Cantaloupe". In it, the writer paints the image of a cunning businessman and hypocrite who profits from military supplies.
Even before the war, Kuprin began to work on a powerful and deep social canvas, which he called darkly and briefly - "The Pit". The first part of this story was published in 1909, and in 1915 the publication of The Pit was completed. In the work, true images of women who find themselves at the bottom of life were created. The classic masterfully portrayed the individual traits of characters and the gloomy back streets of a big city.
Having found himself in exile after the October Revolution and the Civil War, Kuprin began to write about old Russia as an amazing past that always delighted and amused him. The main essence of his works of this period was to reveal the inner world of his heroes. At the same time, the writer often turned to the memories of his youth. This is how the novel "Juncker" appeared, which made a significant contribution to Russian prose.
The classic describes the loyal mood of future infantry officers, youthful love, and such an eternal theme as motherly love. And of course, the writer does not forget nature. It is communication with nature that fills the youthful soul with joy and gives an impetus to the first philosophical reflections.
The Junkers masterfully and competently describe the life of the school, while it represents not only cognitive, but also historical information. The novel is also interesting in the stage-by-stage formation of a young soul. A chronicle of the spiritual development of one of the Russian youths of the late XIX - early XX centuries unfolds before the reader. This work can be called an elegy in prose with great artistic and cognitive merits.
The skill of a realist artist, sympathy for the ordinary citizen with his everyday life worries is extremely vividly manifested in the miniature essays dedicated to Paris. The writer united them with one name - "Home Paris". When A. I. Kuprin's work was in its infancy, he created a series of essays about Kiev. And after many years in emigration, the classic returned to the genre of urban sketches, only the place of Kiev was now taken by Paris.
French impressions were uniquely reunited with nostalgic memories of Russia in the novel Janet. In it, the state of restlessness, mental loneliness, an unquenched thirst to find a close soul was soulfully conveyed. The novel "Janet" is one of the most masterful and psychologically subtle works and, perhaps, the saddest creation of the classic.
The fabulously legendary work "Blue Star" appears to readers as witty and original in its essence. In this romantic tale, love is the main theme. The plot takes place in an unknown fantastic country, where an unknown people live with their own culture, customs, morals. And a brave traveler, a French prince, enters this unknown country. And of course, he meets a fairy princess.
Both she and the traveler are beautiful. They fell in love with each other, but the girl considers herself ugly, and all the people consider her ugly, although she loves her for her kind heart. And the point was that the people who inhabited the country were real monsters, but considered themselves handsome. The princess did not look like her countrymen, and she was perceived as an ugly woman.
A brave traveler takes the girl to France, and there she realizes that she is beautiful, and the prince who saved her is also beautiful. But she considered him a freak, like herself, and she felt very sorry for him. This work has an entertaining good-natured humor, and the plot is somewhat reminiscent of good old fairy tales. All this made the "Blue Star" a significant phenomenon in Russian literature.
In emigration, the work of A.I. Kuprin continued to serve Russia. The writer himself lived an intense, fruitful life. But every year it became more and more difficult for him. The stock of Russian impressions was drying up, but the classic could not merge with foreign reality. Caring for a piece of bread was also important. And therefore, one cannot but pay tribute to the talented author. Despite difficult years for himself, he managed to make a significant contribution to Russian literature..
Introduction
Realistic in the story of A.I. Kuprin "Listrigones" and the story "Duel"
Romantic in the story "Shulamith" and the story "Olesya"
Theory and methodology for a holistic analysis of the story "Garnet bracelet" in the classroom in grade 11
Conclusion
List of used literature
Introduction
The name of A.I. Kuprin is undoubtedly associated with the realistic trend in Russian literature of the early 20th century. This artist honestly and directly spoke about the pressing problems of his time, touched upon many moral, ethical and social issues that worried the pre-revolutionary Russian society.
Indeed, he always portrayed life in his works as you can see it every day, you just have to walk the streets, carefully looking at everything. Although now less and less people like the Kuprin heroes are encountered, they were quite common in the past. Moreover, Kuprin could write only when he himself lived and felt. He did not invent his own stories and stories at the writing table, but took them out of life. Because, probably, all of his books are so bright and impressive.
K. Chukovsky wrote about Kuprin that “his demands on himself as a realist writer, a depiction of morals literally had no boundaries, (...) that he knew how to conduct a conversation with a jockey like a jockey, a sailor - like an old sailor. He flaunted his great experience like a boy, boasted of it in front of other writers (in front of Veresaev, Leonid Andreev), because that was his ambition: to know for certain, not from books, not according to rumors, those things and facts about which he speaks in their books ... ".
Kuprin was looking everywhere for that power that could elevate a person, help him find inner perfection and happiness.
Love for a person could become such a force. It is this feeling that permeates the stories and stories of Kuprin. Humanity can be called the main theme of such works as "Olesya" and "Anathema", "The Wonderful Doctor" and "Listrigones". Directly, openly, Kuprin speaks of love for a person not so often. But with each of his stories, he calls for humanity.
“And to realize his humanistic idea, the writer uses romantic artistic means. Kuprin often idealizes his characters (Olesya from the story of the same name) or endows them with almost unearthly feelings (Zheltkov from Garnet bracelet ). The finale of Kuprin's works is very often romantic. " So, for example, Olesya is expelled from society again, but this time she is forced to leave, that is, to leave a world alien to her. Romashov from "Duel" leaves reality, completely immersing himself in his inner world. Then, in a duel with life, he dies, unable to bear the painful duality. Yolkov in the story "The Pomegranate Bracelet" shoots himself when he loses the meaning of life. He flees from his love, blessing his beloved: "Hallowed be thy name!" Kuprin's theme of love is painted in romantic tones. He speaks of her reverently. The writer said about his "Pomegranate Bracelet" that he had never written anything more chaste. This wonderful story of love, in the words of Kuprin himself, is "a great blessing to everything: earth, waters, trees, flowers, heavens, smells, people, beasts and eternal goodness and eternal beauty in a woman." Despite the fact that the “Garnet Bracelet” is based on real life facts and its heroes have their own prototypes, it is the clearest example of the romantic tradition. This tells us about Kuprin's ability to see the poetically sublime in reality, and in man - the best and purest. Therefore, we can call this writer both a realist and a romantic at the same time. Realistic in the story of A.I. Kuprin "Listrigones" and the story "Duel" An experienced person who has traveled around Russia more than once, changed many professions, easily got close to a wide variety of people, Kuprin accumulated a huge store of impressions and shared them generously, enthusiastically. In his stories, beautiful pages are devoted to love - painful or triumphant, but always bewitching. Critically portraying life "as it is," Kuprin made it possible to feel the life that should be. He believed that a person who "came into the world for immense freedom, creativity and happiness, will be happy and free." However, his ideal was a wandering, vagabond, life full of colorful adventures and accidents. And his sympathies are always on the side of people who, for one reason or another, find themselves outside the framework of a measured and prosperous existence. Kuprin story realistic The singer of patriarchal naturalness, Kuprin was not accidentally attracted by the forms of labor associated with nature. This is not a burdensome duty at the bench or in a stuffy mine, but work "with the sun in blood", under a fresh wind on endless expanses of water. Calling his heroes "Listrigons" after the fabulous fishermen-pirates from "The Odyssey", Kuprin emphasized the immutability and stability of this world, which preserved its customs almost from Homeric times, and idealized this ancient, as if untouched by time, type of catcher, hunter, son of nature ... But under the ancient masks, the living faces of the Balaklava Greeks modern to Kuprin were guessed, their current cares and joys were felt. The Listrigons reflected episodes of the writer’s friendly communication with the Crimean fishermen; all the heroes of the cycle are real people, Kuprin did not even change their names. So from the fusion of prose and poetry, truth and legend, one of the best examples of Russian lyrical sketch emerged. During the maturing years of the first Russian revolution, Kuprin devoted himself to work on his largest work - the story "The Duel". The story, published in 1905, is set in the 90s. However, everything in her breathed modernity. The work gave a deep explanation of the reasons for the defeat of the tsarist army in the inglorious war with Japan. Moreover, generated by Kuprin's desire to expose the vices of the army environment, "Duel" was a stunning blow to all orders of tsarist Russia. "Regiment, Officers and Soldiers" is written close-up in organic interaction with the main character. In "Duel" we see realistic paintings that create a large canvas in which "minor" characters can be just as important to the artistic whole as the main images. The story is strong, first of all, with accusatory pathos. Kuprin, as you know, was well aware of the wild customs of army life, where the highest army ranks treated soldiers like cattle. Officer Archakovsky, for example, beat his orderly to such an extent that "the blood was not only on the walls, but also on the ceiling." The officers were especially malignant during the senseless soldier drill, when preparations were underway for the ceremonial reviews, on which their service career depended. The plot of the work is everyday tragic: Second lieutenant Romashov dies as a result of a duel with Lieutenant Nikolayev. Romashov, an urban intellectual in the uniform of a second lieutenant of a regular regiment, suffers from the vulgarity and absurdity of life, "monotonous like a fence and gray like a soldier's cloth." The general atmosphere of cruelty, violence, impunity that prevailed among the officers creates the preconditions for the inevitable emergence of a conflict. Romashov feels for the hunted soldier Khlebnikov "a surge of warm, selfless, endless compassion." The author does not idealize young Romashov, does not make him a fighter against the way of life in the army. Romashov is capable only of timid disagreement, of hesitant attempts to convince that cultured, decent people should not attack an unarmed person with a sword: “It is not fair to beat a soldier. That's shameful". The atmosphere of contemptuous alienation hardens Romashov. Towards the end of the story, he discovers firmness and strength of character. The fight becomes inevitable, and his love for a married woman, Shurochka Nikolaeva, who was not ashamed to conclude a cynical deal with a man in love with her, in which his life became the stake, hastened the denouement. The "duel" brought European fame to Kuprin. The advanced public enthusiastically greeted the story, for, as a contemporary wrote, the Kuprin story "undermined, shattered, struck to death the military caste." The story is important to today's readers as a description of the duel between good and evil, violence and humanism, cynicism and purity. Romantic in the story "Shulamith" and the story "Olesya" Despite all the realism of Kuprin's works, you can find elements of romanticism in any of them. Moreover, sometimes it manifests itself so strongly that it is even impossible to call some of the pages realistic. In the story Olesya it all starts out pretty prosaic, even a little boring. Forest. Winter. Dark, illiterate Polesie peasants. It seems that the author just wanted to describe the life of the peasants and does so without embellishing anything, depicting a gray, joyless life in gray. Although, of course, the conditions in which the protagonist of the story finds himself is far from familiar to most of us, nevertheless these are the real conditions of life in Polesie. And suddenly, amid all this dull monotony, Olesya appears, the image is undoubtedly romantic. Olesya does not know what civilization is, time seems to have stopped in the thickets of Polesie. The girl sincerely believes in legends and conspiracies, believes that her family is connected with the devil. The norms of behavior accepted in society are absolutely alien to her, she is natural and romantic. But it is not only the exotic character of the heroine and the situation described in the story that attracts the attention of the writer. The work becomes an attempt to analyze the eternal that should underlie any high feeling. Kuprin draws attention to the girl's hands, although they are hardened from work, but small, aristocratic, in her manner of eating and speaking. Where could a girl like Olesya appear in such an environment? Obviously, the image of the young sorceress is no longer vital, but idealized, the author's imagination has worked on it. After Olesya appears in the story, romanticism is already inseparably adjacent to realism. Spring is coming, nature rejoices with the lovers. A new, romantic world appears, where everything is beautiful. This is the world of love for Olesya and Ivan Timofeevich. As soon as they meet, this world suddenly appears out of nowhere, when they part, it disappears, but remains in their souls. And lovers, being in the ordinary world, strive for their own, fabulous, not accessible to anyone else. This "double world" is also a clear sign of romanticism. Usually the romantic hero does the "act." Olesya is no exception. She went to church, surrendering to the power of her love. Thus, the story describes the love of a real person and a romantic heroine. Ivan Timofeevich finds himself in the romantic world of Olesya, and she - in his reality. It becomes clear why features of both one and the other direction can be traced in the work. One of the most important phenomena of love for Kuprin is that even a premonition of happiness is always clouded by the fear of losing it. On the way to the happiness of the heroes are the difference in their social status and upbringing, the weakness of the hero and the tragic prediction of Olesya. The thirst for harmonious union is generated by deep experiences. Olesya's love becomes the greatest gift that can give life to the hero of the story. In this love there is both selflessness and courage, on the one hand, and contradiction, on the other. Olesya initially understands the tragedy of the outcome of their relationship, but is ready to present herself to her beloved. Even leaving her native place, beaten and dishonored, Olesya does not curse the one who ruined her, but blesses those short moments of happiness that she experienced. The writer sees the true meaning of love in the desire to disinterestedly give to his chosen one all the fullness of feelings that a loving person is capable of. A person is imperfect, but the power of love can, at least for a short time, return to him the sharpness of sensations and naturalness, which only people like Olesya have retained in themselves. The strength of the soul of the heroine of the story is able to bring harmony even into such contradictory relationships as those described in the story. Love is contempt for suffering and even death. It is a pity, but only a select few are capable of such a feeling. But sometimes Kuprin doesn't come up with anything perfect. V Duel , it seems to me, there is not a single perfect image. If at first Shurochka seems beautiful (she is so smart, beautiful, although she is surrounded by vulgar, cruel people), then soon this impression disappears. Shurochka is not capable of true love, like Olesya or Zheltkov, she prefers the outer brilliance of high society to her. And as soon as you understand this, her beauty, mind, and feelings appear in a different light. Lyubov Romashova, of course, was purer and sincere. And although he is not at all idealized by the author, he can be considered a romantic hero. He experiences and feels everything very keenly. In addition, Kuprin takes Romashov through life's suffering: loneliness, humiliation, betrayal, death. Against the background of a realistic depiction of the order of the tsarist army, vulgarity, cruelty, rudeness, another person stands out - Nazansky. This is already a real romantic hero. It is in his speeches that you can find all the basic ideas of romanticism about the imperfection of this world, about the existence of another, beautiful, about eternal struggle and eternal suffering. As you can see, in his works Kuprin did not adhere to the framework of only a realistic direction. There are also romantic tendencies in his stories. He places romantic heroes in everyday life, in a real setting, next to ordinary people. And very often, therefore, the main conflict in his works is the conflict between the romantic hero and the ordinariness, dullness, and vulgarity. Kuprin had the ability to combine reality with romantic fiction in his books. Probably, this is the very wonderful ability to see the beautiful, admirable in life, which many people are deprived of. But if you are able to see the best sides of life in life, then, in the end, a new, wonderful world can be born from the most boring and gray everyday life. The perception and comprehension of a work of art as a whole has become especially significant in our time. The attitude of a modern person to the world as a whole has a value, life meaning. From its inception, art has focused on the emotional sensation and reproduction of the integrity of life. Therefore, "... it is in the work that the universal principle of art is clearly realized: the re-creation of the integrity of the world of human life as an endless and unfinished" social organism "in the final and complete aesthetic unity of the artistic whole." Literature in its development, temporary movement, that is, the literary process, reflected the progressive course of artistic consciousness that seeks to reflect people's mastery of the integrity of life and the accompanying destruction of the integrity of the world and man. In order to more or less exhaustively cognize a work of art, it is ideally necessary to go through all three stages of its scientific examination, without missing anything in them. This means that it is necessary to understand the work as a whole at the level of primary perception, then conduct a thorough analysis of it by elements and, finally, complete the consideration with a systemic-integral synthesis. Ideally, the method of analysis should be different for each work, it should be dictated by its ideological and artistic characteristics. For a sample analysis not to be random and fragmentary, it must at the same time be a holistic analysis. It would seem a contradiction, but in reality it is not. Only with a holistic view of the system can one determine which aspects, elements and connections in it are more essential, and which are of an auxiliary nature. First of all, it is necessary to know the "law of the whole", the principle of its organization, and only then he will tell you what specifically to pay attention to. Therefore, the consideration of a work of fiction must begin not with analysis, but with synthesis. It is necessary, first of all, to realize your complete first impression and, having checked it mainly by rereading, formulate it at the conceptual level. At this stage, it is already possible to carry out a key operation for further holistic selective analysis - to determine the content and style dominants of the work. This is the key that reveals the integrity of the structure of an artistic creation and determines the ways and directions of further analysis. So, if the dominant of the content lies in the field of problems, then the subject matter of the work can be completely ignored, focusing on the connection between the problematic and the idea; if in the field of pathos, then the analysis of the subject matter is necessary, since in pathos the objective and subjective aspects are naturally combined, while the problematic in this case turns out to be not so important. A more specific definition of dominants suggests more specific ways of analysis: for example, ideological and moral problems require close attention to the individual “philosophy” of the hero, to the dynamics of his views and beliefs, while his connections with the social sphere are, as a rule, secondary. Sociocultural issues, on the other hand, dictate increased attention to statics, to the invariable features of the external and internal appearance of the characters, to the hero's connections with the environment that gave birth to him. Highlighting style dominants also indicates what should be done in the work in the first place. So, it makes no sense to analyze the elements of the plot if we observe descriptiveness or psychologism as a style dominant; tropes and syntactic figures are analyzed if the style dominant is rhetoric; complex composition directs attention to the analysis of off-plot elements, narrative forms, subject details, etc. As a result, the set task is achieved: saving time and effort is combined with the comprehension of the individual ideological and artistic originality of the work, the selective analysis turns out to be at the same time holistic. "Garnet Bracelet" has an unusual creative history. Work on the story went on in the fall of 1910 in Odessa. At this time Kuprin often visited the family of the Odessa doctor L. Ya. Maisels and listened to Beethoven's Second Sonata performed by his wife. The musical work so captivated Alexander Ivanovich that the work on the story began with the fact that he wrote down the epigraph. L. van Beethoven. 2 Son. (op. 2, no. 2). Largo Appassionato ... Beethoven's sonata Appassionata ", one of the most tense, painful, passionate creations of human genius in music, awakened Kuprin to literary creativity. The sounds of the sonata combined in his imagination with the story of light love that he witnessed. The prototypes of the heroes of the story are known from Kuprin's correspondence and memoirs: Zheltkov - petty telegraph official P.P. Zheltikov, Prince Vasily Shein - member of the State Council D.N. Lyubimov, Princess Vera Sheina - his wife Lyudmila Ivanovna, nee Tugan - Baranovskaya, her sister Anna Nikolaevna Friesse - sister of Lyubimova, Elena Ivanovna Nitte, brother of Princess Sheina - an official of the State Chancellery Nikolai Ivanovich Tugan - Baranovsky. The story has gone through a number of editions in French, German, English, Swedish, Polish, Bulgarian, Finnish. Foreign critics, noting the subtle psychologism of the story, hailed it as a "gust of fresh wind." For a holistic analysis of a work of art, students need to ask the following questions: What is the work of A.I. Kuprin about? Why is it so named? (The story "The Pomegranate Bracelet" praises the feeling of the "little man", the telegraph operator Zheltkov, towards Princess Vera Nikolaevna Sheina. The story is named so because the main events are associated with this decoration.) How did Kuprin artistically transform the real story he heard? (Kuprin embodied in his creation the ideal of beautiful, omnipotent, but not mutual love, showed that small man capable of a great, all-encompassing feeling. Kuprin finished the story with the death of the hero, which made Vera Nikolaevna think about love, about feeling, made her worry, sympathize, which she had not done before). How do we know about Zheltkov's love? Who is talking about her? (We learn about Zheltkov's love for the first time from the stories of Prince Shein. The prince's truth is intertwined with fiction. For him, this is a funny story. after death a will). Read the description of the autumn garden. Why does it follow the description of Vera's feelings for her husband? Is she happy? (The author shows that her manners are distinguished by cold courtesy, regal calmness. "The former passionate love is long gone", maybe Vera does not love her husband, because she does not know love, therefore she treats her husband with "a feeling of strong, faithful, true friendship." . She is a sensitive, selfless and delicate person: she tries to quietly help her husband "make ends meet.") Highlight important key episodes of the story and relate plot elements to them. (1. Vera's name day and Zheltkov's gift - the outset 2. The conversation between Nikolai Nikolaevich and Vasily Lvovich with Zheltkov is the culmination. 3. The death of Zheltkov and farewell to him is the denouement.) How is Kuprin portraying Zheltkov and his love? Why does he "force" Vera to listen to Beethoven's second sonata? (Looking at his face, Vera recalls the same pacified expression on the masks of the great sufferers - Pushkin and Napoleon. Turgenev "How good, how fresh the roses were"), the perfection of the universe. In the story, two are rewarded with roses: General Anosov and Zheltkov. The last letter is beautiful, like poetry, convinces the reader of the sincerity and strength of his feelings. For Zheltkov, to love Vera even without reciprocity - “Tremendous happiness.” Saying goodbye to her, he writes: “As I leave, I am delighted to say:“ Hallowed be thy name. ”He truly loves Zheltkov, with passionate, disinterested love. Death does not frighten him. The hero asks to hang a pomegranate bracelet, not accepted by Vera, on the icon. This deifies his love and puts Vera on a par with the saints. Zheltkov is talented in his love, like Pushkin and Napoleon. Talent is unthinkable without a realization ui, but the hero was not understood. Posthumously, Zheltkov bequeathed to Vera to listen to Beethoven's sonata, a majestic reflection on the gift of life and love. The greatness of what an ordinary person has experienced is comprehended under the sounds of music, as if conveying his shocks, pain, happiness, and unexpectedly displaces from the soul everything vain, petty, instills a reciprocal ennobling suffering.) How does Zheltkov appear in the suicide letter? (Zheltkov admits that uncomfortable wedge crashed into the life of Vera and is infinitely grateful to her only for the fact that she exists. His love is not a disease, not a manic idea, but a reward sent by God. His tragedy is hopeless, he is a dead man). What is the mood of the story's finale? (The finale is imbued with a feeling of light sadness, not tragedy. Zheltkov dies, but Vera awakens to life, that same "great love that repeats itself once in a thousand years" was revealed to her.) Is there a perfect love? Is love and being loved the same thing? What's better? What is the fate of the garnet bracelet? (The unhappy lover asked to hang a bracelet - a symbol of holy love - on the icon) Does unearthly love meet? (Yes, it does. But very rarely. It is this kind of love that A. Kuprin described in his work) How to attract love? (It's not enough to wait for love, you yourself have to learn to love, to feel like a particle of the world around you) Why does love rule a person, and not vice versa? (Love is an eternal flow. A person reacts to waves of love. Love is eternal, it was, is and will be. And a person comes and goes) How does A.I. Kuprin see true love? (true love is the basis of everything earthly. It should not be isolated, undivided, it should be based on high sincere feelings, strive for the ideal. Love is stronger than death, it raises a person) What is love? (Love is passion, it is strong and real feelings that uplift a person, awakening his best qualities, it is truthfulness and honesty in a relationship). Love for a writer is the basis of everything that exists: “Love should be a tragedy, the greatest secret in the world. And no life inconveniences, calculations and compromises should concern her. " Its heroes are people with an open soul and a pure heart, rebelling against human humiliation, trying to defend human dignity. The writer sings sublime love, opposing it to hatred, enmity, distrust, antipathy, indifference. Through the lips of General Anosov, he says that this feeling should not be frivolous, nor primitive, nor, moreover, based on profit and self-interest: “Love should be a tragedy. The greatest secret in the world! touch". Love, according to Kuprin, should be based on lofty feelings, on mutual respect, honesty and truthfulness. She must strive for the ideal. Conclusion Today the works of A. Kuprin are of great interest. They attract the reader with their simplicity, humanity, democracy in the noblest sense of the word. The world of A. Kuprin's heroes is colorful and crowded. He himself lived a bright life filled with diverse impressions - he was a military man, a clerk, a land surveyor, and an actor of a wandering circus troupe. A. Kuprin has said many times that he does not understand writers who do not find anything more interesting in nature and people than themselves. The writer is very interested in human destinies, while the heroes of his works are most often not successful, successful people who are satisfied with themselves and life, but rather the opposite. Kuprin was struggling with an emigrant fate, he did not want to submit to her. He tried to live an intense creative life and continue serving literature. One cannot but pay tribute to the talented writer - in these difficult years for him he managed to make a significant contribution to Russian literature. The work of Alexander Ivanovich Kuprin was highly appreciated by Anton Pavlovich Chekhov, Alexei Maksimovich Gorky, Lev Nikolaevich Tolstoy. Konstantin Paustovsky wrote about him: “Kuprin cannot die either in the memory of the Russians or in the memory of many people - representatives of humanity, just as the wrathful power of his“ Duel ”, the bitter charm of the“ Pomegranate Bracelet ”, the stunning picturesqueness of his“ Listrigons ”cannot die, just as his passionate, intelligent and direct love for man and for his land cannot die ”. Moral energy, and artistic, creative magic of Kuprin come from the same root, from the fact that he can be safely called the healthiest, most cheerful and life-loving in the circle of Russian writers of the XX century. Kuprin's books must certainly be read, lived in youth, for they are a kind of encyclopedia of healthy, morally impeccable human desires and feelings. List of used literature Korman B.O. On the integrity of a work of art. Izvestia of the Academy of Sciences of the USSR. Ser. literature and language. 1977, no. 6 Kuprin A. I. Garnet bracelet. - M., 1994. - S. 123. Paustovsky K. The stream of life // Sobr. op. in 9 volumes. - M., 1983. T.7.-416 p. Chukovsky K. Contemporaries: portraits and sketches (with illustrations): ed. Central Committee of the Komsomol "Young Guard", M., 1962 - 453 p.
Alexander KUPRIN (1870-1938)
1. Youth and early work of Kuprin
Alexander Ivanovich Kuprin possessed a bright, original talent, which was highly appreciated by L. Tolstoy, Chekhov, Gorky. The attractive force of his talent lies in the capacity and vitality of the narrative, in the amusing plots, in the naturalness and ease of language, in vivid imagery. Kuprin's works attract us not only with their artistic skill, but also with their humanistic pathos and enormous love of life.
Kuprin was born on August 26 (September 7), 1870 in the town of Narovchat, Penza province, in the family of a district clerk. The father died when the child was in his second year. His mother moved to Moscow, where poverty forced her to live in a widow's house, and give her son to an orphanage. The writer's childhood and adolescence passed in closed military-type educational institutions: in a military gymnasium, and then in a cadet school in Moscow. In 1890, after graduating from a military school, Kuprin served in the army with the rank of lieutenant. An attempt to enter the Academy of the General Staff in 1893 was unsuccessful for Kuprin, and in 1894 he retired. The next few years in Kuprin's life were a period of numerous travels and changes in various kinds of activities. He worked as a reporter in Kiev newspapers, served in Moscow in an office, as an estate manager in the Volyn province, as a prompter in a provincial troupe, tried many more professions, met with people of various specialties, views and lives.
Like many other writers, A.I. Kuprin began his creative career as a poet. Among Kuprin's poetic experiments, there are 2-3 dozen good in performance and, most importantly, genuinely sincere in revealing human feelings and moods. This especially applies to his humorous poems - from the prickly "Ode to Katkov", written in adolescence, to numerous epigrams, literary parodies, playful impromptu. Kuprin never stopped writing poetry all his life. However, he found his true calling in prose. In 1889, as a student at a military school, he published his first story "The Last Debut" and was sent to solitary confinement for violating the rules of the school, whose pupils were forbidden to appear in print.
Much has given Kuprin work in journalism. In the 90s, on the pages of provincial newspapers, he published feuilletons, notes, court chronicles, literary critical articles, travel correspondence.
In 1896 Kuprin's first book was published - a collection of essays and feuilletons "Kiev types", in 1897 the book of stories "Miniatures" was published, which included the writer's early stories published in newspapers. The writer himself spoke of these works as "the first childish steps on the literary road." But they were the first school of the future recognized master of the short story and fictional sketch.
2. Analysis of the story "Moloch"
Working in the blacksmith shop of one of the Donbass metallurgical plants introduced Kuprin to work, life and customs of the working environment. He wrote essays on "Yuzovsky Plant", "In the Main Mine", "Rail Rolling Plant". These essays were the preparation for the creation of the story "Molokh", published in the December issue of the magazine "Russian wealth" for 1896.
In Moloch Kuprin mercilessly exposed the inhuman essence of emerging capitalism. The very title of the story is symbolic. Moloch - according to the concepts of the ancient Phoenicians - is the sun god, to whom human sacrifices were brought. It is with him that the writer compares capitalism. Only Moloch capitalism is even more cruel. If one human sacrifice per year was sacrificed to the God-Moloch, then the Moloch-capitalism devours much more. The hero of the story, engineer Bobrov, calculated that at the plant where he serves, every two days of work "devour a whole person." "Damn it! - exclaims the engineer, agitated by this conclusion, in a conversation with his friend Dr. Goldberg. - Do you remember from the Bible that some Assyrians or Moabites made human sacrifices to their gods? But these brazen gentlemen, Moloch and Dagon, would have blushed with shame and resentment in front of the numbers that I just gave. " This is how the image of the bloodthirsty god Moloch appears on the pages of the story, who, like a symbol, passes through the entire work. The story is also interesting because here for the first time in Kuprin's work the image of an intellectual-truth-seeker appears.
Such a seeker of truth is the central hero of the story - engineer Andrei Ilyich Bobrov. He likens himself to a person "who has been flayed alive" - this is a soft, sensitive, sincere person, a dreamer and a lover of truth. He does not want to put up with violence and hypocritical morality that covers up this violence. He stands up for purity, honesty in relations between people, for respect for human dignity. He is sincerely indignant at the fact that the personality is becoming a plaything in the hands of a handful of egoists, demagogues and crooks.
However, as Kuprin shows, Bobrov's protest has no practical way out, because he is a weak, neurasthenic person, incapable of struggle and action. Outbursts of indignation end in him admitting his own powerlessness: "You have neither the determination nor the strength for this ... Tomorrow you will again be prudent and weak." The reason Bobrov is weak is that he feels lonely in his outrage at injustice. He dreams of a life based on pure relationships between people. But how to achieve such a life - he does not know. The author himself does not answer this question.
We must not forget that Bobrov's protest is largely determined by personal drama - the loss of a beloved girl who, seduced by wealth, sold herself to the capitalist and also became a victim of Moloch. All this does not diminish, however, the main thing that characterizes this hero - his subjective honesty, hatred of all kinds of injustice. The end of Bobrov's life is tragic. Broken inwardly, devastated, he ends his life suicide.
The personification of the destructive power of cash is in the story the millionaire Kvashnin. This is a living embodiment of the bloodthirsty god Moloch, which is already emphasized by the very portrait of Kvashnin: "Kvashnin was sitting in an armchair with his colossal legs apart and his stomach protruding forward, similar to a Japanese idol of rough work." Kvashnin is the antipode of Bobrov, and he is portrayed by the author in sharply negative tones. Kvashnin goes to any deal with his conscience, to any immoral act, even a crime, in order to satisfy his own. whims and desires. The girl he liked - Nina Zinenko, Bobrov's bride, he makes his kept woman.
The corrupting power of Moloch is especially strongly shown in the fate of people striving to creep into the number of the "chosen ones." Such, for example, is the director of the Shelkovnikov plant, who only nominally manages the plant, obeying in everything the protégé of a foreign company - the Belgian Andrea. Such is one of Bobrov's colleagues - Svezhevsky, who dreams of becoming a millionaire by the age of forty and is ready for anything in the name of this.
The main thing that characterizes these people is immorality, lies, adventurism, which have long become the norm of behavior. Kvashnin himself lies, pretending to be an expert in the business, which he is in charge. Shelkovnikov is lying, pretending that it is he who runs the plant. Nina's mother is lying, hiding the secret of the birth of her daughter. Svezhevsky is lying, and Faya plays the role of Nina's fiancé. Dummy directors, dummy fathers, dummy husbands - such, according to Kuprin, is a manifestation of the general vulgarity, falsity and lies of life, which the author and his positive hero cannot put up with.
The story is not free, especially in the history of the relationship between Bobrov, Nina and Kvashnin, from a touch of melodramatism, the image of Kvashnin is devoid of psychological persuasiveness. And yet Moloch was not an ordinary event in the work of an aspiring prose writer. The search for moral values, a person of spiritual purity, outlined here, will become the main ones for Kuprin's further creativity.
Maturity usually comes to a writer as a result of the many-sided experiences of his own life. Kuprin's work confirms this. He felt confident only when he was firmly grounded in reality and portrayed what he knew perfectly. The words of one of the heroes of Kuprin's “Pit”: “By God, I would like to become a horse, plant or fish for a few days, or be a woman and experience childbirth; I would like to live an inner life and see the world through the eyes of every person I meet, ”- they sound truly autobiographical. Kuprin tried, whenever possible, to taste everything, to experience everything for himself. This thirst, inherent in him as a person and as a writer, to be actively involved in everything that happens around him, led to the appearance already in his early work of works of a wide variety of topics, in which a rich gallery of human characters and types was derived. In the 90s, the writer willingly turns to the depiction of the exotic world of tramps, beggars, homeless people, vagabonds, street thieves. These paintings and images are in the center of such his works as "The Supplicant", "Painting", "Natasha", "Friends", "The Mysterious Stranger", "Horse thieves", "White Poodle". Kuprin showed a steady interest in the life and customs of the acting environment, artists, journalists, writers. Such are his stories "Lidochka", "Lolly", "Experienced Glory", "Allez!"
The plots of many of these works are sad, sometimes tragic. For example, the story "Allez!" - a psychologically capacious work inspired by the idea of humanism. Under the external restraint of the author's narration, the story hides the deep compassion of the writer for man. The orphanage of a five-year-old girl turned into a circus rider, the work of a skillful acrobat under a circus dome full of momentary risk, the tragedy of a girl deceived and insulted in her pure and high feelings and, finally, her suicide as an expression of despair - all this is depicted with Kuprin's inherent insight and skill. It was not without reason that L. Tolstoy considered this story to be one of the best Kuprin creations.
At that time of his formation as a master of realistic prose, Kuprin wrote a lot and willingly about animals and children. Animals in Kuprin's works behave like people. They think, suffer, rejoice, fight injustice, humanly make friends and value this friendship. In one of the later stories, the writer, referring to his little heroine, will say: “Mind you, dear Nina: we live next to all animals and do not know anything about them at all. We are simply not interested. Take, for example, all the dogs you and I have known. Each has its own special soul, its own habits, its own character. It's the same with cats. It's the same with horses. And birds. Just like people ... ”Kuprin's works contain the wise human kindness and love of the humanist artist for all living things and living next to us and around us. These moods permeate all his stories about animals - "White Poodle", "Elephant", "Emerald" and dozens of others.
Kuprin's contribution to children's literature is enormous. He possessed a rare and difficult gift to write about children in a captivating and serious manner, without fake sugaryness and schoolboy didactics. It is enough to read any of his children's stories - "The Wonderful Doctor", "Kindergarten", "On the River", "Taper", "The End of the Tale" and others, and we will make sure that the children are portrayed by a writer with the finest knowledge and understanding of the soul child, with a deep penetration into the world of his hobbies, feelings and experiences.
Invariably defending human dignity and the beauty of a person's inner world, Kuprin endowed his positive heroes - both adults and children - with a high nobility of soul, feelings and thoughts, moral health, and a kind of stoicism. The best that their inner world is rich in is manifested most vividly in their ability to love - disinterestedly and strongly. A collision of love lies at the heart of many Kuprin's works of the 90s: the lyric poem in prose The Centenary, the short stories Stronger than Death, Narcissus, The First Comer, Loneliness, Autumn Flowers, etc.
Asserting the moral value of a person, Kuprin was looking for his positive hero. He found it among people who were not corrupted by selfish morality, living in unity with nature.
The writer contrasted the representatives of a "civilized" society who had lost their nobility and honesty with a "healthy", "natural" person from the people.
3. Analysis of the story "Olesya"
It is this idea that forms the basis of a small story."Olesya" (1898). The image of Olesya is one of the brightest and most humane in the rich gallery of female images created by Kuprin. This is a freedom-loving and integral nature, captivating with its external beauty, with an extraordinary mind and noble soul. She is amazingly responsive to every thought, every movement of the soul of a loved one. At the same time, she is uncompromising in her actions. Kuprin shrouds the process of the formation of Olesya's character and even the very origin of the girl in mystery. We don't know anything about her parents. She was raised by a dark, illiterate grandmother. She could not have any inspiring influence on Olesya. And the girl turned out to be so wonderful primarily because, Kuprin convinces the reader, that she grew up in nature.
The story is built on the juxtaposition of two heroes, two natures, two attitudes. On the one hand - an educated intellectual, a resident of a big city Ivan
Timofeevich. On the other hand, Olesya is a person who has not been influenced by urban civilization. Compared to Ivan Timofeevich, a kind but weak man,
"Lazy heart", Olesya rises with nobility, integrity, proud confidence in her inner strength. If Ivan Timofeevich looks bold, humane and noble in his relationship with the woodsman Yermola and the dark, ignorant village people, then in communication with Olesya, the negative sides of his nature are also manifested. True artistic instinct helped the writer to reveal the beauty of the human person, generously gifted by nature. Naivety and imperiousness, femininity and proud independence, “flexible, mobile mind”, “primitive and vivid imagination”, touching courage, delicacy and innate tact, involvement in the innermost secrets of nature and spiritual generosity - these qualities are highlighted by the writer, drawing the charming appearance of Olesya , whole, - original, free nature, which to rare gems "flashed in the surrounding darkness and ignorance.
Showing Olesya's originality and talent, Kuprin proved himself to be a subtle master psychologist. For the first time in his work, he touched those mysterious phenomena of the human psyche, which science still unravels. He writes about the unrecognized forces of intuition, premonitions, about the wisdom of thousands of years of experience that the human mind is capable of assimilating. Explaining the "witchcraft" charms of the heroine, the author expresses the conviction that Olesya had access to "those unconscious, instinctive, foggy, , closed masses of the people, passed on as the greatest secret from generation to generation. "
For the first time in the story, Kuprin's cherished thought is so fully expressed: a person can be wonderful if he develops, and does not destroy, the bodily, spiritual and intellectual abilities given to him from above.
Kuprin considered pure, bright love to be one of the highest manifestations of the truly human in man. In his heroine, the writer showed this possible happiness of free, unrestrained love. The description of the flowering of love and, together with it, the human personality, constitutes the poetic core of the story, its semantic and emotional center. With an amazing sense of tact, Kuprin makes us go through the alarming period of the birth of love, "full of vague, painfully sad feelings", and its happiest seconds of "pure, full of all-consuming delight", and long joyful dates of lovers in a dense pine forest. The world of spring jubilant nature - mysterious and beautiful - merge in the story with an equally wonderful outpouring of human feelings. “For almost a month, the naive charming tale of our love lasted, and to this day, together with the beautiful appearance of Olesya, these blazing evening dawns, these dewy mornings fragrant with lilies of the valley and honey, are hot, languid, lazy July days ... I, as a pagan god or as a young, strong animal, enjoyed the light, warmth, conscious joy of life and calm, healthy, sensual love. " In these heartfelt words of Ivan Timofeevich, the hymn of the author of "living life" himself, its enduring value, its beauty sounds.
The story ends with the separation of the lovers. In such a finale, there is essentially nothing unusual. Even if Olesya had not been beaten by local peasants and left with her grandmother, fearing even more cruel revenge, she would not have been able to unite her fate with Ivan Timofeevich - they are so different people.
The story of two lovers unfolds against the backdrop of the magnificent nature of Polissya. The Kuprin landscape is not only extremely picturesque, rich, but also unusually dynamic. Where another, less subtle artist would have depicted the tranquility of a winter forest, Kuprin notes movement, but this movement emphasizes the silence even more clearly. "From time to time a thin twig fell from the top and it was extremely clearly heard how it, falling, with a slight crackle, touched other branches." Nature in a story is a necessary element of content. She actively influences the thoughts and feelings of a person, her paintings are organically connected with the movement of the plot. Static winter pictures of nature at the beginning, at the moment of the hero's loneliness; stormy spring, coinciding with the inception of a feeling of love for Olesya; a fabulous summer night in the moments of the highest happiness of lovers; and, finally, a cruel thunderstorm with hail - these are the psychological accompaniments of the landscape, helping to reveal the idea of the work. The light fairytale atmosphere of the story does not fade even after the dramatic denouement. Gossip and gossip, the vile persecution of the bailiff fade into the background, the wild reprisals of Perebrod women over Olesya after she visited the church are obscured. Over everything insignificant, petty and evil, earthly love, even though sadly ending, real, big, wins. The final touch of the story is characteristic: a string of red beads left by Olesya at the corner of the window frame in a hastily abandoned wretched hut. This detail gives compositional and semantic completeness to the work. A string of red beads is the last tribute to Olesya's generous heart, the memory of "her tender, generous love."
"Olesya", perhaps more than any other work of the early Kuprin, testifies to the deep and diverse connections of the young writer with the traditions of Russian classics. So, researchers usually recall Tolstoy's "Cossacks", which are based on the same task: to depict a person who has not been touched or spoiled by civilization, and to put him in contact with the so-called "civilized society." At the same time, it is easy to find a connection between the story and the Turgenev line in Russian prose of the 19th century. They are brought together by the opposition of a weak-willed and indecisive hero and a heroine who is bold in her actions, completely devoted to the feeling that gripped her. And Ivan Timofeevich involuntarily reminds us of the heroes of Turgenev's stories "Asya" and "Spring Waters".
According to its artistic method, the story "Olesya" is an organic combination of romanticism with realism, ideal and real-life. The romanticism of the story is manifested primarily in the disclosure of the image of Olesya and in the depiction of the beautiful nature of Polesie.
Both of these images - of nature and Olesya - are merged into a single harmonious whole and cannot be thought in isolation from each other. Realism and romanticism in the story complement each other, appear in a kind of synthesis.
"Olesya" is one of those works in which the best features of Kuprin's talent were revealed to the fullest. Masterful sculpting of characters, subtle lyricism, vivid pictures of eternally living, renewing nature, inextricably linked with the course of events, with the feelings and Experiences of the heroes, the poeticization of a great human feeling, a consistently and purposefully developing plot - all this puts Olesya among the most significant works of Kuprin ...
4. Analysis of the story "Duel"
The beginning of the 900s is an important period in Kuprin's creative biography. During these years he became acquainted with Chekhov, the story "In the Circus" was approved by L. Tolstoy, he became closely related to Gorky and the publishing house "Knowledge". Ultimately, it was Gorky, his help and support, that Kuprin owes much to the completion of work on his most important work, a story. The Duel (1905).
In his work, the writer refers to the image of the military environment so familiar to him. In the center of "Duel", as in the center of the story "Moloch", there is the figure of a man who, in Gorky's words, has become "sideways" to his social environment. The plot of the story is based on the conflict between Lieutenant Romashov and the surrounding reality. Like Bobrov, Romashov is one of the many cogs in a social mechanism that is alien and even hostile to him. He feels like a stranger among the officers, he differs from them primarily in his humane attitude towards the soldiers. Like Bobrov, he painfully experiences abuse of a person, humiliation of his dignity. “It is dishonorable to beat a soldier,” he declares, “you cannot beat a person who not only cannot answer you, but does not even have the right to raise his hand to protect himself from a blow. Doesn't even dare to turn her head away. That's shameful!". Romashov, like Bobrov, is weak, powerless, is in a state of painful split, internally contradictory. But unlike Bobrov, depicted as an already fully formed personality, Romashov is given in the process of spiritual development. This gives his image an inner dynamism. At the beginning of the service, the hero is full of romantic illusions, dreams of self-education, a career as a General Staff officer. Life shatters these dreams mercilessly. Shocked by the failure of his half-company on the parade ground during the inspection of the regiment, he travels around the city until nightfall and unexpectedly meets his soldier Khlebnikov.
The images of the soldiers do not occupy such a significant place in the story as the images of the officers. But even the episodic figures of the "lower ranks" are remembered for a long time by the reader. This is Romashova's orderly Gaynan, and Arkhipov, and Sharafutdinov. The close-up is highlighted in the story by Private Khlebnikov.
One of the most exciting scenes in the story and, as K. Paustovsky justly remarked, "one of the best ... in Russian literature" is the night meeting at the railroad bed of Romashov with Khlebnikov. Here the plight of the downtrodden Khlebnikov and the humanism of Romashov, who sees in the soldier first of all a person, is revealed with the utmost completeness. The hard, joyless fate of this unfortunate soldier shocked Romashov. A deep spiritual break occurs in him. Since that time, Kuprin writes, "his own fate and the fate of this ... downtrodden, tortured soldier are somehow strange, kindred close ... intertwined." What is Romashov thinking about, what new horizons are opening up before him when, rejecting the life he has lived until now, he begins to reflect on his future?
As a result of intense reflections on the meaning of life, the hero comes to the conclusion that "there are only three proud vocations of man: science, art and a free man." Remarkable are these inner monologues of Romashov, in which such basic problems of the story are posed as the relationship between the individual and society, the meaning and purpose of human life, etc. Romashov protests against vulgarity, against dirty "regimental love". He dreams of a pure, sublime feeling, but his life ends early, absurdly and tragically. The love affair accelerates the denouement of the conflict between Romashov and the environment he hates.
The story ends with the death of the hero. Romashov was defeated in an unequal struggle against the vulgarity and stupidity of army life. Having made his hero see the light, the author did not see those specific ways in which the young man could move on and realize the found ideal. And no matter how much Kuprin suffered for a long time working on the finale of the work, he did not find another convincing end.
Kuprin's excellent knowledge of army life was clearly manifested in the image of the officer environment. The spirit of careerism, the inhuman treatment of the soldiers, and the squalor of spiritual interests reign here. Considering themselves to be people of a special breed, the officers look at the soldiers as if they were cattle. One of the officers, for example, beat his orderly in such a way that "the blood was not only on the walls, but also on the ceiling." And when the orderly complained to the company commander, he sent him to the sergeant-major and "the sergeant-major beat him on his blue, swollen, bloody face for another half hour." One cannot calmly read those scenes of the story, which describe how they mock a sick, beaten, physically weak soldier Khlebnikov.
Officers live wildly and hopelessly in everyday life. Captain Pliva, for example, in his 25 years of service has not read a single book or a single newspaper. Another officer, Vetkin, says with conviction: "Thinking is not supposed to be done in our business." The officers spend their free time on drunkenness, card games, brawls in brothels, fights among themselves and on stories about their love affairs. The life of these people is a miserable, thoughtless vegetation. It, as one of the characters in the story says, "is monotonous, like a fence, and gray, like a soldier's cloth."
This, however, does not mean that Kuprin, as some researchers argue, deprives the officers of the story of glimpses of all humanity. The essence of the matter is that in many officers - in the regiment commander Shulgovich, and in Bek-Agamalov, and in Vetkin, and even in captain Sliva, Kuprin notes positive qualities: Shulgovich, having reprimanded the embezzler-officer, immediately gives him money. Vetkin is a kind and good friend. Not a bad person, in fact, and Bek-Agamalov. Even Plum, a stupid campaigner, is impeccably honest with the soldiers' money passing through his hands.
The point, therefore, is not that we are faced with only geeks and moral monsters, although there are such characters among the characters in the story. And the fact is that even people endowed with positive qualities, in an atmosphere of musty life and dull monotony of life, lose the will to resist this swamp, sucking in the soul, and gradually degrade.
But, as one of the then critics N. Ashe-shov wrote about Kuprin's story "The Swamp", filled with a close circle of thoughts, "a man dies in a swamp, a man must be resurrected." Kuprin peers into the very depths of human nature and tries to notice in people those precious seeds of the soul that have yet to be nurtured, humanized, cleansed of bad deposits from scale. This feature of Kuprin's artistic method was sensitively noted by the pre-revolutionary researcher of the writer's work F. Batyushkov: properties fit in one and the same person, and that life will become wonderful when a person is free from all prejudices and prejudices, becomes strong and independent, learns to subordinate the conditions of life, and begins to create his own way of life. "
Nazansky occupies a special place in the story. This is an off-plot character. He does not take any part in the events, and should, it would seem, be perceived as an episodic character. But the significance of Nazansky is determined, firstly, by the fact that it was Kuprin who put the author's arguments into his mouth, summing up the criticism of army life. Secondly, the fact that it is Nazansky who formulates positive answers to the questions that Romashov has. What is the essence of Nazansky's views? If we talk about his critical statements about the life and life of former colleagues, then they go along with the main problems of the story, and in this sense they deepen its main theme. He inspiredly prophesies the time when “a new radiant life” will come “far from our dirty, smelly campsites”.
In his monologues, Nazansky glorifies the life and power of a free person, which is also a progressive factor. However, Nazansky combines correct thoughts about the future and criticism of the army order with individualistic and egoistic sentiments. A person, in his opinion, should live only for himself, regardless of the interests of other people. “Who is dearer and closer to you? Nobody, - he says to Romashov. - You are the king of the world, his pride and adornment ... Do what you want. Take whatever you like ... Whoever can prove to me with clear persuasiveness what I have to do with this - damn him! - to my neighbors, with a vile slave, with an infected, with an idiot? .. And then, what interest will make me break my head for the happiness of the people of the 32nd century? " It is easy to see that Nazansky here rejects Christian mercy, love for one's neighbor, the idea of self-sacrifice.
The author himself was not satisfied with the image of Nazansky, and his hero Romashov, listening attentively to Nazansky, far from always shares his point of view, and even more so follows his advice. Both Romashov's attitude to Khlebnikov and the rejection of his own interests in the name of the happiness of his beloved woman - Shurochka Nikolaeva - indicate that Nazansky's preaching of individualism, stirring up Romashov's consciousness, does not touch, however, his heart. If anyone implements the principles preached by Nazansky in the story, without realizing, of course, this is Shurochka Nikolaeva. It is she who dooms to death in the name of her own selfish, selfish goals Romashov, who is in love with her.
The image of Shurochka is one of the most successful in the story. Charming, graceful, she stands head and shoulders above the rest of the officers' ladies of the regiment. Her portrait, painted by a lover Romashov, captivates with the hidden passion of her nature. Maybe that's why Romashov is drawn to her, that's why Nazansky loved her, because she has that healthy, vital, strong-willed principle, which both friends so lacked. But all the extraordinary qualities of her nature are aimed at achieving selfish goals.
In the image of Shurochka Nikolaeva, an interesting artistic solution is given to the strength and weakness of the human personality, of female nature. It is Shurochka who accuses Romashov of weakness: in her opinion, he is pathetic and weak-willed. What is Shurochka herself?
This is a lively mind, an understanding of the vulgarity of life around her, a desire to break free to the top of society by all means (her husband's career is a step towards this). From her point of view, everyone around is weak people. Shurochka knows for sure what she wants and will achieve her goal. A strong-willed, rationalistic principle is clearly expressed in it. She is the opponent of sentimentality, in herself she suppresses that which can interfere with the goal set by her - all heart impulses and affections.
Twice, as from weakness, she refuses love - first from the love of Nazansky, then Romashov. Nazansky accurately captures the duality of nature in Shurochka: "passionate heart" and "dry, selfish mind."
The cult of evil volitional power characteristic of this heroine is something unprecedented in the female character, in the gallery of Russian women depicted in Russian literature. This cult is not approved, but debunked by Kuprin. It is regarded as a perversion of femininity, the principles of love and humanity. Masterfully, at first as if by accidental strokes, and then more and more distinctly, Kuprin emphasizes in the character of this woman such a trait, at first not noticed by Romashov, as spiritual coldness and callousness. For the first time, he catches something alien and hostile to himself in Shurochka's laughter at the picnic.
"There was something instinctively unpleasant in this laughter, which smelled cold in Romashov's soul." At the end of the story, in the scene of the last rendezvous, the hero experiences a similar, but significantly intensified sensation when Shurochka dictates his terms of the duel. "Romashov felt something secret, smooth, slimy creeping between them invisibly, which smelled of cold on his soul." This scene is complemented by the description of Shurochka's last kiss, when Romashov felt that "her lips are cold and motionless." Shurochka is calculating, selfish and in her ideas does not go further than the dream of the capital, of success in high society. To make this dream come true, she ruins Romashov, by any means trying to win a secured place for herself and for her limited, unloved husband. In the finale of the work, when Shurochka deliberately does his pernicious deed, persuading Romashov to fight Nikolayev in a duel, the author shows the unkindness of the power imprisoned in Shurochka, opposing Romashov's "humane weakness" to it.
"Duel" was and remains an outstanding phenomenon of Russian prose at the beginning of the 20th century.
During the first Russian revolution, Kuprin was in the democratic camp, although he did not take a direct part in the events. At the height of the revolution in the Crimea, Kuprin observed a revolutionary ferment among the sailors. He witnessed the massacre of the rebel cruiser "Ochakov" and - he himself took part in the rescue of the few surviving sailors. Kuprin told about the tragic death of the heroic cruiser in his essay "Events in Sevastopol", for which the commander of the Black Sea Fleet, Admiral Chukhnin, ordered the writer to be expelled from the Crimea.
5. Essays "Listrigones"
Kuprin suffered the defeat of the revolution very hard. But in his work he continued to remain in the position of realism. With sarcasm, he portrays the philistine in his stories as a force that restrains the spiritual growth of a person, distorts the human personality.
Kuprin, as before, opposes the ugly "dead souls" to ordinary people, proud, cheerful, cheerful, living a difficult, but spiritually rich, meaningful work life. These are his essays on the life and work of the Balaklava fishermen under the general title Listrigones (1907-1911) (Listrigones - mythical people of giants-cannibals in Homer's poem "The Odyssey"). In "Listrigons" there is no protagonist moving from one essay to another. But certain figures are still highlighted in them. Such are the images of Yura Paratino, Kolya Kostandi, Yura Kalitanaki and others. Before us are natures that have been shaped over the centuries by the life and profession of a fisherman. These people are the embodiment of activity. And, moreover, the activity is deeply human. Disunity and selfishness are alien to them.
Fishermen go to their hard work in artels, and joint hard work develops solidarity and mutual support in them. This work requires will, cunning, resourcefulness. People are harsh, courageous, risk-loving people admire Kuprin, because there is much in their characters that the reflective intelligentsia lacks. The writer admires their hoarse will and simplicity. The solid and courageous characters of the fishermen, the writer claims, are the result of the fact (that they, like Olesya, are children of nature, live far away from the spoiled "civilized" world. The Listrigons, like the story "Olesya", represent the method is a fusion of realism and romanticism.In a romantic, upbeat style, the writer depicts everyday life, work, and especially the characters of the Balaklava fishermen.
During these years Kuprin created two wonderful works about love - "Shulamph" (1908) and "Garnet Bracelet" (1911). Kuprin's interpretation of this topic appears especially significant in comparison with the depiction of women in anti-realistic literature. A woman who has always personified all the best and brightest in the Russian people among classic writers, during the years of reaction, under the pen of some fiction writers, she turned into an object of lustful and coarse desires. This is how a woman is depicted in the works of A. Kamensky, E. Nagrodskaya, A. Verbitskaya and others.
In contrast to them, Kuprin sings love as a powerful, tender and uplifting feeling.
6. Analysis of the story "Shulamith"
According to the brightness of colors, the power of poetic embodiment, the story"Shulamith" occupies one of the first places in the writer's work. This patterned tale, imbued with the spirit of Eastern legends, about the joyful and tragic love of a poor girl for the king and sage Solomon is inspired by the biblical Song of Songs. The plot of "Shulamith" is to a great extent a product of Kuprin's creative imagination, but he drew colors and moods from this biblical poem. However, this was not a simple borrowing. Very boldly and skillfully using the technique of stylization, the artist strove to convey the pathetic, melodious, solemn system, the stately and full of energy sound of ancient legends.
Throughout the story, there is a contrast between light and dark, love and hate. The love of Solomon and Sulamith is described in light, festive colors, in a soft combination of colors. Conversely, the feelings of the cruel queen Astiz and the royal bodyguard Eliava in love with her are devoid of a sublime character.
Passionate and pure, light love is embodied in the image of Sulamith. The opposite feeling - hatred and envy - is expressed in the image of Astiz, rejected by Solomon. Shulamith brought great and bright love to Solomon, which fills her completely. Love worked a miracle with her - she opened the beauty of the world to the girl, enriched her mind and soul. And even death cannot defeat the power of this love. Shulamith dies with words of gratitude for the supreme happiness given to her by Solomon. The story "Shulamith" is especially remarkable as a glorification of a woman. The sage Solomon is beautiful, but even more beautiful in her half-childish naivety and selflessness is Shulamith, who gives her life for her beloved. The words of Solomon's farewell to Shulamith contain the secret meaning of the story: “As long as people love each other, as long as the beauty of soul and body is the best and sweetest dream in the world, until then, I swear to you, Shulamith, your name is in for many centuries it will be pronounced with affection and gratitude. "
The legendary plot "Sulamith" opened unlimited opportunities for Kuprin to sing about love strong, harmonious and free from any everyday conventions and everyday obstacles. But the writer could not limit himself to such an exotic interpretation of the theme of love. He persistently searches in the most real, everyday reality for people possessed by the highest feeling of love, capable of rising, at least in dreams, above the surrounding prose of life. And, as always, he turns his gaze to the common man. This is how the poetic theme of the "Garnet Bracelet" arose in the writer's creative mind.
Love, in Kuprin's view, is one of the eternal, inexhaustible and not fully known sweet secrets. In it, the personality of a person, his character, capabilities and talents are manifested most fully, deeply and versatile. It awakens in a person the best, most poetic sides of his soul, raises above the prose of life, activates spiritual forces. “Love is the brightest and most complete reproduction of my I. Not in strength, not in dexterity, not in mind, not in talent, not in voice, not in colors, not in gait, not in creativity is individuality expressed. But in love ... A person who died for love dies for everything, ”Kuprin wrote to F. Batyushkov, revealing his philosophy of love.
7. Analysis of the story "Garnet bracelet"
Narrative in a story"Garnet bracelet" opens with a sad picture of nature, in which alarming notes are caught: "... From morning till morning it was raining without ceasing, fine as water dust ... then a fierce hurricane blew from the north-west, from the steppe," which took human lives. The lyrical landscape "overture" precedes the story of a romantically sublime, but unrequited love: a telegraph operator Zheltkov fell in love with a married aristocrat, unattainable for him, Princess Vera Sheina, writes her tender letters, not hoping for an answer, considers the moments when secretly , in the distance, can see the beloved.
As in many other stories by Kuprin, the "Garnet Bracelet" is based on a real fact. There was a real prototype of the main character of the story, Princess Vera Sheina. This was the mother of the writer Lev Lyubimov, the niece of the famous "legal Marxist" Tugan-Baranovsky. There was actually a telegraph operator Zholtov (Zheltkov's prototype). Lev Lyubimov writes about this in his memoirs "In a Foreign Land". Taking an episode from life, Kuprin imagined it creatively. The feeling of love is affirmed here as a real and high life value. “And I want to say that people in our time have forgotten how to love. I don’t see real love, ”one of the characters, an old general, states sadly. The story of the life of a "little man", into which love entered, which is "strong as death", love - "a deep and sweet secret" - refutes this statement.
In the image of Zheltkov, Kuprin shows that ideal, romantic love is not an invention; not a dream, not an idyll, but a reality, although rarely encountered in life. The portrayal of this character has a very strong romantic start. We know almost nothing about his past, about the origins of the formation of his character. Where and how could this “little man” receive such an excellent musical education, cultivate in himself such a developed sense of beauty, human dignity and inner nobility? Like all romantic heroes, Zheltkov is lonely. Describing the character's appearance, the author draws attention to the features inherent in natures with a fine mental organization: “He was tall, thin, with long, fluffy soft hair ... very pale, with a gentle girlish face, blue eyes and a stubborn child's chin with a dimple in the middle ". This external originality of Zheltkov further emphasizes the richness of his nature.
The plot of the plot is the receipt by Princess Vera on her birthday of another letter from Zheltkov and an unusual gift - a pomegranate bracelet (“five crimson bloody fires trembling inside five pomegranates”). "Precisely blood!" - thought Vera with unexpected alarm. Outraged by Zheltkov's intrusiveness, Vera's brother Nikolai Nikolaevich and her husband, Prince Vasily, decide to find and "teach a lesson" to this, from their point of view, "impudent".
The scene of their visit to Zheltkov's apartment is the culmination of the work, therefore the author dwells on it in such detail. At first, Zheltkov is shy in front of the aristocrats who have visited his poor home, and feels guilty without guilt. But as soon as Nikolai Nikolaevich hinted that in order to "enlighten" Zheltkov "he would resort to the help of the authorities, the hero literally transforms. It is as if another person appears before us - defiantly calm, not afraid of threats, with a sense of his own dignity, realizing his moral superiority over his uninvited guests. The "little man" straightens himself so spiritually that Vera's husband begins to feel involuntary sympathy and respect for him. He tells his brother-in-law
About Zheltkov: “I see his face, and I feel that this person is not capable of deceiving or knowingly lying. And really, think, Kolya, is he really to blame for love and is it possible to control such a feeling as love ... I feel sorry for this man. And I am not only sorry, but now, I feel that I am present at some tremendous tragedy of my soul ... "
The tragedy, alas, did not hesitate to come. Zheltkov gives himself so much to his love that without it life for him loses all meaning. And therefore he commits suicide, so as not to interfere with the princess's life, so that "nothing temporary, vain and worldly does not disturb" her "beautiful soul." Zheltkov's last letter raises the theme of love to the highest tragedy. Dying, Zheltkov thanks Vera for the fact that she was for him "the only joy in life, the only consolation, the only thought."
It is important that with the death of the hero does not die, a great feeling of love. His death spiritually resurrects Princess Vera, reveals to her the world of feelings that she has never known before. It seems to be internally liberated, acquires the great power of love, inspired by the lost, which sounds like the eternal music of life. It is no coincidence that the epigraph to the story is Beethoven's second sonata, the sounds of which crown the finale and serve as a hymn of pure and selfless love.
Zheltkov seemed to foresee that Vera would come to say goodbye to him, and through the landlady bequeathed her to listen to Beethoven's sonata. In unison with the music in the soul of Vera, the death words of a man who loved her selflessly sound: “I remember every step you take, your smile, the sound of your gait. Sweet sadness, quiet, beautiful sadness is wrapped around my last memories. But I will not hurt you. I leave alone, in silence, it was so pleasing to God and fate. "Hallowed be thy name."
In the sad hour of my death, I pray only to you. Life could be wonderful for me too. Don't grumble, poor heart, don't grumble. In my soul I call for death, but in my heart I am full of praise to you: "Hallowed be thy name."
These words are a kind of akathist for love, the refrain of which is a line from a prayer. It is rightly said: "The lyrical musical ending of the story affirms the high power of love, which made it possible to feel its greatness, beauty, selflessness, attracting another soul to itself for a moment."
And yet, "Garnet Bracelet" does not leave such a light and inspired impression as "Olesya". K. Paustovsky subtly noted the special tonality of the story, saying about it: “the bitter charm of the Garnet Bracelet”. This bitterness lies not only in the death of Zheltkov, but also in the fact that his love concealed, along with inspiration, a certain limitation, narrowness. If for Olesya love is a part of being, one of the constituent elements of the multicolored world around her, then for Zheltkov, on the contrary, the whole world narrows only to love, which he confesses in his dying letter to Princess Vera: “It happened,” he writes, “that I am not interested in anything in life: neither politics, nor science, nor philosophy, nor concern for the future happiness of people - for me all life is only in you. " It is quite natural that the loss of a loved one becomes the end of Zheltkov's life. He has nothing else to live with. Love did not expand, did not deepen his connections with the world, but on the contrary, narrowed them. Therefore, the tragic ending of the story, along with the hymn of love, contains another, no less important idea: one cannot live with love alone.
8. Analysis of the story "The Pit"
In the same years Kuprin conceived a large artistic canvas - a story"Pit" , on which he worked with long interruptions in the years 1908-1915. The story was a response to a series of erotic works that relished perversion and pathology, and to numerous debates about the emancipation of sexual passions, and to specific disputes about prostitution, which has become a sick phenomenon of Russian reality.
The humanist writer dedicated his book to "Mothers and Youth." He tried to influence the unclouded consciousness and morality of young people, mercilessly telling about what base things are happening in brothels. In the center of the narrative is the image of one of these "houses of tolerance" where philistine morals triumph, where Anna Markovna, the owner of this institution, feels like a sovereign ruler, where Lyubka, Zhenechka, Tamara and other prostitutes - "victims of social temperament" - and where they come to pull these victims from the bottom of this stinking swamp young intellectuals - truth-seekers: student Likhonin and journalist Platonov.
The story contains many vivid scenes, where the life of nightlife "in all its everyday simplicity and everyday efficiency" is recreated calmly, without strain and loud words. But in general, it did not become Kuprin's artistic success. Stretched out, loose, overloaded with naturalistic details, The Pit caused the dissatisfaction of both many readers and the author himself. The final opinion about this story in our literary criticism has not yet been formed.
And yet "The Pit" should hardly be regarded as an absolute creative failure of Kuprin.
One of the undoubted, from our point of view, the merits of this work is that Kuprin looked at prostitution not only as a social phenomenon (“one of the most terrible ulcers of bourgeois society,” we have been accustomed to assert for decades), but also as a phenomenon of a complex biological order. The author of Yama tried to show that the fight against prostitution rests on global problems associated with a change in human nature, which is fraught with millennial instincts.
In parallel with work on the story "The Pit" Kuprin is still working hard on his favorite genre - the story. Their topics are varied. With great sympathy, he writes about poor people, their mutilated lives, about abused childhood, recreates pictures of philistine life, castigates the bureaucratic nobility, cynical businessmen. His stories of these years "Black Lightning" (1912), "Anathema" (1913), "Elephant Walk" and others are colored with anger, contempt and at the same time love.
The eccentric, fanatic of business and unmercenary Turchenko, towering above the bourgeois quagmire, is akin to Gorky's purposeful heroes. No wonder the leitmotif of the story is the image of black lightning from Gorky's "Song of the Petrel." And in terms of the strength of its denunciation of provincial philistines, Black Lightning echoes Gorky's Okurov cycle.
Kuprin followed the principles of realistic aesthetics in his work. At the same time, the writer willingly used the forms of artistic convention. Such are his allegorical and fantastic stories "Dog Happiness", "Toast", extremely saturated with figurative symbolism of the works "Dreams", "Happiness", "Giants". His fantastic stories The Liquid Sun (1912) and The Star of Solomon (1917) are characterized by a skilful interweaving of concrete everyday and surreal episodes and pictures; the stories “The Garden of the Blessed Virgin” and “Two Hierarchs” ( 1915). They showed Kuprin's interest in the rich and complex world around him, in the unsolved mysteries of the human psyche. The symbolism, moral or philosophical allegory contained in these works was one of the most important means of artistic embodiment of the world and man by the writer.
9. Kuprin in exile
A. Kuprin perceived the events of the 1st World War from a patriotic position. Paying tribute to the heroism of Russian soldiers and officers, in the stories "Goga Merry" and "Cantaloupe" he exposes the bribe-takers and embezzlers who are cleverly profiting from the people's misfortune.
During the October Revolution and Civil War Kuprin lived in Gatchina, near Petrograd. When General Yudenich's troops left Gatchina in October 1919, Kuprin moved with them. He settled in Finland and then moved to Paris.
In the first years of his stay in emigration, the writer experienced an acute creative crisis caused by separation from his homeland. The turning point came only in 1923, when his new talented works appeared: "The One-Armed Commandant", "Fate", "The Golden Rooster". The past of Russia, memories of Russian people, of native nature - this is what Kuprin gives the last strength of his talent to. In stories and essays about Russian history, the writer revives the traditions of Leskov, telling about unusual, sometimes anecdotal, colorful Russian characters and customs.
Such excellent stories as "The Shadow of Napoleon", "Red, Bay, Gray, Black", "The Tsar's Guest from Narovchat", "The Last Knights" were written in Leskov's manner. In his prose, the old, pre-revolutionary motives were again sounded. The short stories "Olga Sur", "Bad Pun", "Blondel" seem to complete the line in the depiction of the circus writer, following the famous "Listrigons" he writes the story "Svetlana", again resurrecting the colorful figure of the Balaklava fishing chieftain Kolya Kostandi. The story "The Wheel of Time" (1930) is dedicated to the glorification of the great "gift of love", the hero of which is the Russian engineer Misha, who fell in love with the beautiful Frenchwoman, akin to the former selfless and pure-hearted characters of the writer. Kuprin's stories "Yu-Yu", "Zaviraika", "Ralph" continue the line of depicting animals by the writer, which he began before the revolution (stories "Emerald", "White Poodle", "Elephant Walk", "Peregrine Falcon").
In a word, no matter what Kuprin wrote about in emigration, all his works are imbued with thoughts about Russia, a hidden longing for the lost homeland. Even in the essays dedicated to France and Yugoslavia - "Home Paris", "Intimate Paris", "Cape Huron", "Old Songs" - the writer, painting foreign customs, everyday life and nature, again and again returns to the idea of Russia. He compares French and Russian swallows, Provencal mosquitoes and Ryazan mosquitoes, European beauties and Saratov girls. And everything to him at home, in Russia, seems nicer and better.
Kuprin's last works, the autobiographical novel "Juncker" and the story "Janet" (1933), also inspire lofty moral problems. "Juncker" is a continuation of the autobiographical story "At the Turning Point" ("Cadets"), created by Kuprin thirty years ago, although the names of the main characters are different: in "Cadets" - Bulavin, in "Cadets" - Alexandrov. Talking about the next stage of the hero's life at the Alexander School, Kuprin in "Junkers", unlike "Cadets", removes the slightest critical notes about the educational system in Russian closed military educational institutions, coloring the story of Alexandrov's cadets in pink, idyllic tones. However, "Juncker" is not just the history of the Alexander Military School, conveyed through the eyes of one of his pupils. This is also a work about old Moscow. The silhouettes of the Arbat, the Patriarch's Ponds, the Institute of Noble Maidens, etc. appear through the romantic haze.
The novel expressively conveys the feeling of first love that is born in the heart of young Aleksandrov. But despite the abundance of light and festivities, Juncker is a sad book. She is warmed by the senile warmth of memories. Again and again with "indescribable, sweet, bitter and tender sadness," Kuprin mentally returns to his homeland, to his departed youth, to his beloved Moscow.
10. The story of "Janet"
These nostalgic notes are clearly heard in the story"Janet" . Without touching, "as if a film of cinema is unfolding," he walks past the old emigrant professor Simonov, once famous in Russia, but now huddled in a poor attic, the life of bright and noisy Paris. With a great sense of tact, without falling into sentimentality, Kuprin tells about the loneliness of an old man, about his noble, but no less oppressive poverty, about his friendship with a mischievous and rebellious cat. But the most heartfelt pages of the story are devoted to Simonov's friendship with a little half-beggar girl Zhaneta - “the princess of four streets”. Писатель ничуть не идеализирует эту миловидную черномазую девчонку с грязноватыми ручонками, относящуюся, как и черный кот, немного свысока к старому профессору. However, a chance acquaintance with her illuminated his lonely life, revealed the entire hidden reserve of tenderness in his soul.
The story ends sadly. Mother takes Janet out of Paris, and the old man is left all alone again, except for the black cat. In this piece
Kuprin managed with great artistic power to show the collapse of the life of a person who had lost his homeland. But the philosophical context of the story is broader. It is in the affirmation of the purity and beauty of the human soul, which a person should not lose in any life's hardships.
After the story "Janet" Kuprin did not create anything significant. As the daughter of the writer KA Kuprin testifies, “he sat down at his desk, forced to earn his daily bread. It was felt that he really lacked Russian soil, purely Russian material. "
It is impossible without a feeling of acute pity to read the letters of a writer of these years to his old friends-emigrants: Shmelev, artist I. Repin, circus wrestler I. Zaikin. Their main motive is nostalgic pain for Russia, the impossibility of creating outside of it. “Emigrant life completely chewed me up, and remoteness from my homeland flattened my spirit to the ground,” 6 he confesses to IE Repin.
11. Return to the homeland and death of Kuprin
Homesickness is becoming more and more unbearable, and the writer decides to return to Russia. At the end of May 1937, Kuprin returned to the city of his youth - Moscow, and at the end of December he moved to Leningrad. Old and terminally ill, he still hopes to continue his writing career, but his strength finally leaves him. Kuprin died on August 25, 1938.
A master of language, an entertaining plot, a man of great love of life, Kuprin left a rich literary heritage that does not fade from time to time, bringing joy to new and new readers. The feelings of many connoisseurs of Kuprin's talent were well expressed by K. Paustovsky: “We should be grateful to Kuprin for everything - for his deep humanity, for his subtle talent, for love for his country, for unshakable faith in the happiness of his people and, finally, for never dying in him the ability to light up from the slightest contact with poetry and freely and easily write about it. "
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