The composition "The theme of love in Bulgakov's novel" The White Guard. The Turbins family

The theme of love has always been, is and will be one of the most exciting topics. At all times, poets, writers, philosophers have addressed this topic. And in our time, when wars follow one after another, when people begin to forget about what friendship, trust, help, selflessness are, this topic is very relevant. In addition, in my opinion, it is in the "White Guard" that the theme of love is revealed very sincerely, deeply and multilaterally. The theme of love is multifaceted. You can talk about love for the Motherland, and about love for a woman. I will focus on two aspects of love.

This will determine the structure of my composition. The first part will be devoted to love and relationships in the Turbins' family, the second - to love that unites loving hearts. Bulgakov's novel opens with a majestic image of 1918: “Great was the year after the birth of Christ in 1918, and the second from the beginning of the revolution. It was plentiful in the summer with the sun, and in the winter with snow, and especially high in the sky were two stars: the shepherd's evening Venus and the trembling red Mars. " This short introduction sounds rather menacing, as if warning about the tests that await the Turbins.

These stars are not just images, they are symbolic images. And if you decipher them, you can see that already in the first lines of the novel, the author declares the themes that excite him: love and war. The cold and terrible image of 1918 is alarming and even frightening. And therefore, when Turbines suddenly appear against its background, you immediately feel a sense of closeness and trust to them.

You grieve with them when they say goodbye to their mother forever, and worry about their future. And this contrast at the very beginning of the novel, in my opinion, is not accidental. Bulgakov sharply opposes this family to the whole image of 1918, which carries in itself horror, death, pain. We clearly understand the position of the author in relation to this family. What is family? A family is a circle of people who are endlessly devoted and loving each other. These are people united by blood ties, for whom their union is the most important.

Can the Turbins be called a family? Undoubtedly. Moreover: Turbines are Bulgakov's ideal of the family. They have all the best that a truly strong family can have: kindness, simplicity, honesty, mutual understanding and, of course, love. But not only this is important for Bulgakov. His heroes are dear to him, because they are people at home.

The Turbines are ready to defend their home, warm and cozy. “House in the broadest sense is a city, Russia ...” That is why the careerist Talberg and the coward Vasilisa, who ran away and hid from all worries in their kennel, cannot be members of this family. The Turbins' house is a fortress, which they protect and defend only together, together. It cannot be otherwise.

And, of course, it was no coincidence then that Bulgakov's appeal to the details of church rituals: the funeral service for his mother, Alexei's appeal to the image of the Mother of God, the prayer of Nikolka, who miraculously escaped death ... Everything in the Turbins' house is imbued with faith and love for God and his neighbor. This is inherent in them since childhood, and this gives them the strength to resist the violence of the outside world. Since 1918 is such, "... that not a single family, not a single person could escape suffering and blood," this cup and the Turbins family did not pass.

There are two ways out on the surface: escape - this is what Talberg does, leaving his wife and loved ones, or going over to the side of the forces of evil, which will be done by Shervinsky, who appears in the finale of the novel in front of Elena in the form of a two-color nightmare and is recommended by the commander of the rifle school, comrade Shervinsky. But there is also a third way - confrontation, which the main characters - Turbines - enter. It is faith in love that unites the family and makes it stronger. Bulgakov tells us that Orthodoxy is an integral part of the ideal Russian family.

It is possible that this is what makes this family Russian. And then Bulgakov's frequent reference to church vocabulary is understandable, then the words from the epigraph acquire a deep meaning: "And the dead were judged according to what was written in books, in accordance with their deeds ...".

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The novel "The White Guard" opens with a majestic image of 1918: “Great was the year after the birth of Christ in 1918, the second from the beginning of the revolution. It was plentiful in the summer with the sun, and in the winter with snow, and especially high in the sky were two stars: the shepherd's star - evening Venus and the red, trembling Mars. This introduction, as it were, warns of the trials that await the Turbins. Stars are not just images, they are symbolic images. Having deciphered them, you can see that already in the first lines of the novel, the author touches on the most exciting topics: love and war.

Against the background of the cold and fearless image of 1918, Turbines suddenly appear, living in their own world, with a sense of closeness and trust. Bulgakov sharply opposes this family to the whole image of 1918, which carries in itself horror, death, pain. The House of Turbins is warm and cozy, an atmosphere of love and friendliness reigns. Bulgakov describes with extraordinary accuracy the world of things that surrounds the Turbins. These are "a bronze lamp under a lampshade, the best bookcases in the world with books smelling of mysterious old chocolate, with Natasha Rostova, the captain's daughter, gilded cups, silver, portraits, curtains ..." These are the "famous" cream curtains that create coziness. All these things are for the Turbins signs of an old life, forever lost. Describing in detail the situation surrounding the Turbins from childhood, Bulgakov strove to show the atmosphere of the life of the intelligentsia, which had evolved over decades. For Alexey, Nikolka, Elena and their friends, the house serves as a reliable and durable shelter. Here they feel protected. “And then ... then it’s disgusting in the room, like in any other room, where the packing is chaos, and even worse when the lampshade is pulled off the lamp. Never. Never pull the lampshade off the lamp! The lampshade is sacred. " Cream curtains stronger than a stone wall will protect them from enemies, “... and their apartment is warm and cozy, especially cream curtains on all windows are wonderful, thanks to which you feel cut off from the outside world ... And he, this world, this outer world ... you must admit it yourself, is dirty, bloody and meaningless. " Turbines understand this, and therefore do their best to protect the family that unites and unites them.

Turbines for Bulgakov are the ideal of the family. They reflected all the best human qualities necessary for a strong family: kindness, simplicity, honesty, mutual understanding and, of course, love. But the heroes are dear to Bulgakov also because under any conditions they are ready to defend not only their cozy home, but also their hometown, Russia. That is why Talberg and Vasilisa cannot be members of this family. For the Turbins, the house is a fortress, which they protect and defend only together. And it is no coincidence that Bulgakov turns to the details of church rituals: the funeral service for their mother, Alexei's appeal to the image of the Mother of God, the prayer of Nikolka, who miraculously escapes death. Everything in the Turbins' house is imbued with faith and love for God and for their loved ones, and this gives them the strength to resist the outside world.

1918 was a turning point in our history - "not a single family, not a single person could escape suffering and blood." This fate did not escape the Turbins' family. Representatives of the intelligentsia, the best stratum in the country, faced a difficult choice: to flee - this is what Talberg does, leaving his wife and loved ones - or to go over to the side of hostile forces, which will be done by Shervinsky, who appears in the finale of the novel in front of Elena in the form of a two-color nightmare and is recommended by the commander shooting school comrade Shervinsky. But the Turbines choose the third way - confrontation. Faith and love unite the family, make it stronger. The tests that befell the Turbins bring them closer together.

At such a terrible time, they decided to take a stranger into their family - Talberg's nephew Lariosik. Despite the fact that the strange guest disturbs the peace and atmosphere of the Turbins (a broken service, a noisy bird), they take care of him like a member of their family, trying to warm him with their love. And, after a while, Lariosik himself realizes that he cannot live without this family. The openness and kindness of the Turbins attracts Myshlaevsky, Shervinsky and Karas. As Lariosik rightly notes: "... and our wounded souls are looking for peace just behind such cream-colored curtains ..."

One of the main motives of the novel is love. And the author shows this already at the beginning of the story, opposing Venus to Mars. It is love that makes the novel unique. Love becomes the main driving force behind all the events of the novel. For her sake, everything is done and everything happens. “They will have to suffer and die,” says Bulgakov of his heroes. And they really suffer and die. Love affects almost every one of them: Alexei, and Nikolka, and Elena, and Myshlaevsky with Lariosik. And this bright feeling helps them to withstand and win. Love never dies, otherwise life would die. And life will always be, it is eternal. To prove this, Bulgakov turns to God in Alexei's first dream, where he dreamed of God's paradise. "For him, God is eternal truths: justice, mercy, peace ..."

About the relationship between Alexei and Yulia, Nikolka and Irina, Elena and Shervinsky, Bulgakov says little, only hinting at the feelings that arose between the heroes. But these hints tell more than any details. The readers cannot hide Alexei's sudden passion for Julia, Nikolka's tender feeling for Irina. Bulgakov's heroes love deeply, naturally and sincerely. But each of them has a different love.

The relationship between Alexei and Julia is not easy. When Alexei runs away from the Petliurites and his life is under threat, Yulia saves him and takes him to her place. She not only gives him life, but also brings the most wonderful feeling into his life. They feel intimacy and understand each other without words: “Bend over to me,” he said. His voice became dry, weak, high. She turned to him, her eyes alert in fear and deep in the shadows. Turbin threw his right hand around his neck, pulled her to him and kissed her on the lips. It seemed to him that he had touched something sweet and cold. The woman was not surprised by Turbin's action. " But the author does not say a word about how the relations of the heroes develop further. And we can only guess how their fate developed.

The love story of Nikolka and Irina develops in a different way. If he talks at least a little about Alexei and Yulia Bulgakov, then practically nothing about Nikolka and Irina. Irina, like Julia, enters Nikolka's life unexpectedly. The younger Turbin, overcome by a sense of duty and respect for the officer Nai-Turs, decides to inform the Turses family of the death of their relative. It is in this family that Nikolka finds her future love. Tragic circumstances bring Irina and Nikolai closer together. It is interesting that in the text of the novel only one of their meeting is described, and there is not a single reflection, recognition and mention of love. It is unknown if they will meet again. Only the sudden meeting and conversation of the brothers clarifies the situation a little: “Apparently, brother, Poturr threw us with you on Malo-Provalnaya street. A! Well, let's go. And what will come of this is unknown. A?"

Turbines know how to love and are rewarded for this with the love of the Almighty. When Elena turns to him with a prayer to save her brother, love wins, and death retreats from Alexei. Praying for mercy in front of the icon of the Mother of God, Elena passionately whispers: “You send too much grief, intercessor mother ... Intercessor mother, can you really not take pity? Maybe we are people and bad, but why punish that? " Elena makes a great sacrifice of self-denial: "Let Sergei not return ... If you take it away, take it away, but don't punish it with death." And the disease receded - Alexey recovered. This is how Love wins. Good triumphs over death, hatred, suffering. And so I want to believe that Nikolka and Irina, Alexey with Yulia, Elena with Shervinsky and everyone else will be happy. “Everything will pass, but Love will remain,” because it is eternal, just as the stars above our heads are eternal.

In his novel, Bulgakov shows us the relationship of completely different people: these are family ties and love ties. But whatever relationship it is, it is always driven by feelings. Or rather, one feeling is love. Love has united the Turbins family and their close friends even more. Rising above reality, Mikhail Afanasevich compares the images of the stars with love. Stars, like love, are eternal. And in this regard, the concluding words take on a completely different meaning: “Everything will pass. Suffering, torment, blood, hunger and pestilence. The sword will disappear, but the stars will remain, when the shadows of our bodies and the matter will not remain on the ground. There is not a single person who does not know this. So why don't we want to look at them? Why?"

The theme of love has always been, is and will be one of the most exciting topics. At all times, poets, writers, philosophers have addressed this topic. And in our time, when wars follow one after another, when people begin to forget about what friendship, trust, help, selflessness are, this topic is very relevant. In addition, in my opinion, it is in the "White Guard" that the theme of love is revealed very sincerely, deeply and multilaterally. The theme of love is multifaceted. You can talk about love for the Motherland, and about love for a woman. I will focus on two aspects of love. This will determine the structure of my composition. The first part will be devoted to love and relationships in the Turbins family, while the second - to love that unites loving hearts. Bulgakov's novel opens with a majestic image of 1918: “The year was great and the year after the birth of Christ in 1918 was great and the second from the beginning of the revolution. It was plentiful in the summer with the sun, and in the winter with snow, and especially high in the sky were two stars: the shepherd's evening Venus and the trembling red Mars. " This short introduction sounds rather menacing, as if warning about the tests that await the Turbins. These stars are not just images, they are symbolic images. And if you decipher them, you can see that already in the first lines of the novel, the author declares the themes that excite him: love and war. The cold and terrible image of 1918 is alarming and even frightening. And therefore, when Turbines suddenly appear against its background, you immediately feel a sense of closeness and trust to them. You grieve with them when they say goodbye to their mother forever, and worry about their future. And this contrast at the very beginning of the novel, in my opinion, is not accidental. Bulgakov sharply opposes this family to the whole image of 1918, which carries in itself horror, death, pain. We clearly understand the position of the author in relation to this family. What is family? A family is a circle of people who are endlessly devoted and loving each other. These are people united by blood ties, for whom their union is the most important. Can the Turbins be called a family? Undoubtedly. Moreover: Turbines are Bulgakov's ideal of the family. They have all the best that a truly strong family can have: kindness, simplicity, honesty, mutual understanding and, of course, love. But not only this is important for Bulgakov. His heroes are dear to him, because they are people at home. The Turbines are ready to defend their home, warm and cozy. “House in the broadest sense is a city, Russia ...” That is why the careerist Talberg and the coward Vasilisa, who ran away and hid from all worries in their kennel, cannot be members of this family. The Turbins' house is a fortress, which they protect and defend only together, together. It cannot be otherwise. And, of course, it was no coincidence then that Bulgakov's appeal to the details of church rituals: the funeral service for his mother, Alexei's appeal to the image of the Mother of God, the prayer of Nikolka, who miraculously escaped death ... Everything in the Turbins' house is imbued with faith and love for God and his neighbor. This is inherent in them since childhood, and this gives them the strength to resist the violence of the outside world. Since 1918 is such, "... that not a single family, not a single person could escape suffering and blood," this cup and the Turbins family did not pass. There are two ways out on the surface: escape - this is what Talberg does, leaving his wife and loved ones, or going over to the side of the forces of evil, which will be done by Shervinsky, who appears in the finale of the novel in front of Elena in the form of a two-color nightmare and is recommended by the commander of the rifle school, comrade Shervinsky. But there is also a third way - confrontation, which the main characters - Turbines - enter. It is this belief in love that binds the family together and makes it stronger. Bulgakov tells us that Orthodoxy is an integral part of the ideal Russian family. It is possible that this is what makes this family Russian. And then Bulgakov's frequent reference to church vocabulary is understandable, then the words from the epigraph acquire a deep meaning: "And the dead were judged according to what was written in books, in accordance with their deeds ...". We know very well that these lines are from the Gospel. But the author does not sign them in any way. Why? Because it seems that these words are being spoken by the Turbins themselves. Let us recall the lines from Elena's prayer: "We are all guilty in blood, but you do not punish." Bulgakov leads this family through many trials, as if trying to test the strength of their union. But grief always only brings you closer together. In such a terrible time as 1918, they take to their family a person who needs them so much - Lariosika. The turbines take care of him as a member of their family, trying to warm him with their love. And after a while, Lariosik himself realizes that he cannot live without this family, without these kind and open people. Therefore, Turbines attract such different characters: Myshlaevsky, Shervinsky, Karas and Lariosik. Lariosik's words immediately come to mind: "... and our wounded souls are looking for peace just behind such cream curtains ...". Why is Bulgakov so dear to his Turbines? Because the Turbines are none other than the Bulgakovs, but, naturally, with some differences. Mikhail Afanasevich Bulgakov lived in house number 13 on Andreevsky (in the novel Alekseevsky) descent in the city of Kiev. In the heroes of the novel, you can recognize the Bulgakov family. In Alexey Turbin - Mikhail, in Elena - one of his four sisters, Varya. In Nikolay - the younger brother, Ivan. Therefore, when, while reading the novel, we immerse ourselves in the atmosphere of the Turbino house, one gets the impression that we have visited the writer and his family. Life, according to Bulgakov, is love and hate, courage and passion, the ability to appreciate beauty and kindness. But in the very first place - it is love. And the author emphasizes this already at the beginning of the novel, opposing Venus to Mars in the cosmic coordinate system. Love is romantic, earthly, carnal and poetic - it is the force that drives the events of the novel. For her sake, everything is done and everything happens. “They will have to suffer and die,” says Bulgakov of his heroes. And they really have a hard time. And in spite of everything, love overtakes almost every one of them: Alexei, and Nikolka, and Elena, and Myshlaevsky and Lariosik - Shervinsky's unlucky rivals. They receive this love as a gift from God, and it helps them survive and overcome. Love never dies, otherwise life itself would die. And life will always be, it is eternal. And to prove this, Bulgakov turns to God in Alexei's first dream, where he dreamed of God's paradise. "For him, God is eternal truths: justice, mercy, peace ...". If the final chapter of the White Guard, found in 1991, had practically no effect on the topic of family relationships, then the topic of love is revealed, taking into account this last chapter, in a completely different way. If in the "old" "White Guard" the relations between Julia and Alexei, Elena and Shervinsky are shown rather sparingly, then in the final part of the plot the curtain is significantly opened. What do we know from the old version of the novel about the relationship between Alexei and Yulia, Nikolka and Irina, Elena and Shervinsky? Very little. Bulgakov allegedly only hints at the feelings that arose between the heroes, practically not paying them special attention. But these hints speak more than any words. Alexei's sudden passion for Julia, Nikolka's tender feeling for Irina, did not disappear from us. Bulgakov's heroes love very naturally, without realizing that this feeling has overtaken them. But, despite the sincerity of feelings, almost all the love stories of the heroes of the "White Guard" must end in tragedy. Should, but may not end, we do not know and will never know. We can only speculate. Yes, love unites the heroes of the novel. It is one for all of them. It is as if she is also the hero of the work, and the hero is not simple, but the main one. Love is the central image of the novel. And, like any other image, love is multifaceted and each character has its own. Alexey and Yulia ... Starting from their first meeting, their relationship radically affects the life of one and the other. “When Alexei runs away from the Petliurites and death stares at him in the back, as if a miracle appears in front of him a woman and takes the pursuers away from under her nose. Death was chasing him, but love caught up. " Julia is the savior of Alexei. Saving him, she not only gives him salvation, but also brings love into his life, which, in turn, can save a person from everything. Love is like a deadly weapon against pain and evil. But at the same time, she herself is fraught with suffering. Their feeling flared up as suddenly and brightly as a chip thrown into a fire ignites. They were immediately drawn to each other, a feeling took possession of them, and unnecessary words were completely useless. One gets the impression that they were made for each other, that they have known each other for ages. If it was necessary to create an image with which their relationship would be associated, then fire would be very suitable. Very bright, hot, burning, destructive. Fire as a symbol of stormy elements, as a symbol of passion. Since it is passion, one of the facets of love, that unites Alexei and Julia. A completely different matter is Nikolka and Irina. If Bulgakov told us at least a little about Alexei and Yulia, then practically nothing about Nikolka and Irina. Irina, like Julia, enters Nikolka's life unexpectedly: the younger Turbin, prompted by a sense of duty and respect for the officer Nai-Turs, decides to inform the Turses family of the death of their relative. It is in this family, a stranger to him, that Nikolka will find his future love. Tragic circumstances bring Irina and Nikolka closer together. Perhaps this is one of the main reasons for the emergence of such pure and quivering feelings. Interestingly, the text of the novel describes only one meeting between them. There is not a single recognition and mention of love, not a single reflection of the heroes about each other. The relationship between Irina and Nikolka is developed in chapter 21 of the novel. Remarkable is the image of the appearance of Irina Nai-Tours, who was first invited to the house, the excitement of Nikolka, his jealousy of Myshlaevsky, who makes fun of the lover. When Nikolka sees Irina off, he in a hurry forgets his gloves, and she, since it was very frosty, does not allow herself to be taken by the arm. Nikolka turned pale and firmly swore to the star Venus: "I will come and shoot myself at once." But she slipped his hand into her muff next to hers, and he fell silent. And when, after the kiss, the hero returns home, "the city was blinded by the Moon and the darkness-darkening stars flaunted over it ...". If the image of Alexei's love was fire, then the image of Nikolka's love was definitely water. She is as pure, clear, calm as Nikolai's feelings. And it is absolutely clear to us that these lovers will be happy for a long time to come. Bulgakov's novel "The White Guard" is permeated with many storylines. In his work, the writer shows us relationships of a completely different nature: these are family ties and love relationships. But whatever relationship it is, it is always driven by feelings. Or rather, one feeling is love. Love can destroy, and it can save. Love has united the Turbins family and their close friends even more. Love can lead to happiness, or it can lead to tragedy. Alexei's love ended in death, and for Nikolka - in the acquisition of the meaning of life. That's how contradictory this bittersweet feeling is. In my opinion, Mikhail Afanasevich compares the images of the stars with love. "Red trembling Mars" is Alexei's passion and fire, and "Shepherd's Venus" is Nikolka's pure love. Stars are eternal, like love. And then the final words take on a completely different meaning: “Everything will pass. Suffering, torment, blood, hunger and pestilence. The sword will disappear, but the stars will remain when the shadows of our bodies and deeds are gone. There is not a single person who does not know this. So why don't we want to look at them? Why?"

Composition

The theme of love has always been, is and will be one of the most exciting topics. At all times, poets, writers, philosophers have addressed this topic. And in our time, when wars follow one after another, when people begin to forget about what friendship, trust, help, selflessness are, this topic is very relevant. In addition, in my opinion, it is in the "White Guard" that the theme of love is revealed very sincerely, deeply and multilaterally. The theme of love is multifaceted. You can talk about love for the Motherland, and about love for a woman. I will focus on two aspects of love. This will determine the structure of my composition. The first part will be devoted to love and relationships in the Turbins family, while the second - to love that unites loving hearts.

Bulgakov's novel opens with a majestic image of 1918: “The year was great and the year after the birth of Christ in 1918 was great and the second from the beginning of the revolution. It was plentiful in the summer with the sun, and in the winter with snow, and especially high in the sky were two stars: the shepherd's evening Venus and the trembling red Mars. " This short introduction sounds rather menacing, as if warning about the tests that await the Turbins. These stars are not just images, they are symbolic images. And if you decipher them, you can see that already in the first lines of the novel, the author declares the themes that excite him: love and war.

The cold and terrible image of 1918 is alarming and even frightening. And therefore, when Turbines suddenly appear against its background, you immediately feel a sense of closeness and trust to them. You grieve with them when they say goodbye to their mother forever, and worry about their future. And this contrast at the very beginning of the novel, in my opinion, is not accidental. Bulgakov sharply opposes this family to the whole image of 1918, which carries in itself horror, death, pain. We clearly understand the position of the author in relation to this family. What is family? A family is a circle of people who are endlessly devoted and loving each other. These are people united by blood ties, for whom their union is the most important. Can the Turbins be called a family? Undoubtedly. Moreover: Turbines are Bulgakov's ideal of the family. They have all the best that a truly strong family can have: kindness, simplicity, honesty, mutual understanding and, of course, love. But not only this is important for Bulgakov. His heroes are dear to him, because they are people at home. The Turbines are ready to defend their home, warm and cozy. “House in the broadest sense is a city, Russia ...” That is why the careerist Talberg and the coward Vasilisa, who ran away and hid from all worries in their kennel, cannot be members of this family. The Turbins' house is a fortress, which they protect and defend only together, together. It cannot be otherwise. And, of course, it was no coincidence then that Bulgakov's appeal to the details of church rituals: the funeral service for his mother, Alexei's appeal to the image of the Mother of God, the prayer of Nikolka, who miraculously escaped death ... Everything in the Turbins' house is imbued with faith and love for God and his neighbor. This is inherent in them since childhood, and this gives them the strength to resist the violence of the outside world. Since 1918 is such, "... that not a single family, not a single person could escape suffering and blood," this cup and the Turbins family did not pass. There are two ways out on the surface: escape - this is what Talberg does, leaving his wife and loved ones, or going over to the side of the forces of evil, which will be done by Shervinsky, who appears in the finale of the novel in front of Elena in the form of a two-color nightmare and is recommended by the commander of the rifle school, comrade Shervinsky. But there is also a third way - confrontation, which the main characters - Turbines - enter. It is this belief in love that binds the family together and makes it stronger.

Bulgakov tells us that Orthodoxy is an integral part of the ideal Russian family. It is possible that this is what makes this family Russian. And then Bulgakov's frequent reference to church vocabulary is understandable, then the words from the epigraph acquire a deep meaning: "And the dead were judged according to what was written in books, in accordance with their deeds ...". We know very well that these lines are from the Gospel. But the author does not sign them in any way. Why? Because it seems that these words are being spoken by the Turbins themselves. Let us recall the lines from Elena's prayer: "We are all guilty in blood, but you do not punish." Bulgakov leads this family through many trials, as if trying to test the strength of their union. But grief always only brings you closer together. In such a terrible time as 1918, they take to their family a person who needs them so much - Lariosika. The turbines take care of him as a member of their family, trying to warm him with their love. And after a while, Lariosik himself realizes that he cannot live without this family, without these kind and open people. Therefore, Turbines attract such different characters: Myshlaevsky, Shervinsky, Karas and Lariosik. Lariosik's words immediately come to mind: "... and our wounded souls are looking for peace just behind such cream curtains ...".

Why is Bulgakov so dear to his Turbines? Because the Turbines are none other than the Bulgakovs, but, naturally, with some differences. Mikhail Afanasevich Bulgakov lived in house number 13 on Andreevsky (in the novel Alekseevsky) descent in the city of Kiev. In the heroes of the novel, you can recognize the Bulgakov family. In Alexey Turbin - Mikhail, in Elena - one of his four sisters, Varya. In Nikolay - the younger brother, Ivan. Therefore, when, while reading the novel, we immerse ourselves in the atmosphere of the Turbino house, one gets the impression that we have visited the writer and his family. Life, according to Bulgakov, is love and hate, courage and passion, the ability to appreciate beauty and kindness. But in the very first place - it is love. And the author emphasizes this already at the beginning of the novel, opposing Venus to Mars in the cosmic coordinate system. Love is romantic, earthly, carnal and poetic - it is the force that drives the events of the novel. For her sake, everything is done and everything happens. “They will have to suffer and die,” says Bulgakov of his heroes. And they really have a hard time. And in spite of everything, love overtakes almost every one of them: Alexei, and Nikolka, and Elena, and Myshlaevsky and Lariosik - Shervinsky's unlucky rivals. They receive this love as a gift from God, and it helps them survive and overcome. Love never dies, otherwise life itself would die. And life will always be, it is eternal. And to prove this, Bulgakov turns to God in Alexei's first dream, where he dreamed of God's paradise. "For him, God is eternal truths: justice, mercy, peace ...".

If the final chapter of the White Guard, found in 1991, had practically no effect on the topic of family relationships, then the topic of love is revealed, taking into account this last chapter, in a completely different way. If in the "old" "White Guard" the relations between Julia and Alexei, Elena and Shervinsky are shown rather sparingly, then in the final part of the plot the curtain is significantly opened. What do we know from the old version of the novel about the relationship between Alexei and Yulia, Nikolka and Irina, Elena and Shervinsky? Very little. Bulgakov allegedly only hints at the feelings that arose between the heroes, practically not paying them special attention. But these hints speak more than any words. Alexei's sudden passion for Julia, Nikolka's tender feeling for Irina, did not disappear from us.

Bulgakov's heroes love very naturally, without realizing that this feeling has overtaken them. But, despite the sincerity of feelings, almost all the love stories of the heroes of the "White Guard" must end in tragedy. Should, but may not end, we do not know and will never know. We can only speculate.

Yes, love unites the heroes of the novel. It is one for all of them. It is as if she is also the hero of the work, and the hero is not simple, but the main one. Love is the central image of the novel. And, like any other image, love is multifaceted and each character has its own. Alexey and Yulia ... Starting from their first meeting, their relationship radically affects the life of one and the other. “When Alexei runs away from the Petliurites and death stares at him in the back, as if a miracle appears in front of him a woman and takes the pursuers away from under her nose. Death was chasing him, but love caught up. " Julia is the savior of Alexei. Saving him, she not only gives him salvation, but also brings love into his life, which, in turn, can save a person from everything. Love is like a deadly weapon against pain and evil. But at the same time, she herself is fraught with suffering. Their feeling flared up as suddenly and brightly as a chip thrown into a fire ignites. They were immediately drawn to each other, a feeling took possession of them, and unnecessary words were completely useless. One gets the impression that they were made for each other, that they have known each other for ages. If it was necessary to create an image with which their relationship would be associated, then fire would be very suitable. Very bright, hot, burning, destructive. Fire as a symbol of stormy elements, as a symbol of passion. Since it is passion, one of the facets of love, that unites Alexei and Julia.

A completely different matter is Nikolka and Irina. If Bulgakov told us at least a little about Alexei and Yulia, then practically nothing about Nikolka and Irina. Irina, like Julia, enters Nikolka's life unexpectedly: the younger Turbin, prompted by a sense of duty and respect for the officer Nai-Turs, decides to inform the Turses family of the death of their relative. It is in this family, a stranger to him, that Nikolka will find his future love. Tragic circumstances bring Irina and Nikolka closer together. Perhaps this is one of the main reasons for the emergence of such pure and quivering feelings. Interestingly, the text of the novel describes only one meeting between them. There is not a single recognition and mention of love, not a single reflection of the heroes about each other.

The relationship between Irina and Nikolka is developed in chapter 21 of the novel. Remarkable is the image of the appearance of Irina Nai-Tours, who was first invited to the house, the excitement of Nikolka, his jealousy of Myshlaevsky, who makes fun of the lover. When Nikolka sees Irina off, he in a hurry forgets his gloves, and she, since it was very frosty, does not allow herself to be taken by the arm. Nikolka turned pale and firmly swore to the star Venus: "I will come and shoot myself at once." But she slipped his hand into her muff next to hers, and he fell silent. And when, after the kiss, the hero returns home, "the city was blinded by the Moon and the darkness-darkening stars flaunted over it ...".

If the image of Alexei's love was fire, then the image of Nikolka's love was definitely water. She is as pure, clear, calm as Nikolai's feelings. And it is absolutely clear to us that these lovers will be happy for a long time to come. Bulgakov's novel "The White Guard" is permeated with many storylines. In his work, the writer shows us relationships of a completely different nature: these are family ties and love relationships. But whatever relationship it is, it is always driven by feelings. Or rather, one feeling is love. Love can destroy, and it can save. Love has united the Turbins family and their close friends even more. Love can lead to happiness, or it can lead to tragedy. Alexei's love ended in death, and for Nikolka - in the acquisition of the meaning of life. That's how contradictory this bittersweet feeling is.

In my opinion, Mikhail Afanasevich compares the images of the stars with love. "Red trembling Mars" is Alexei's passion and fire, and "Shepherd's Venus" is Nikolka's pure love. Stars are eternal, like love. And then the final words take on a completely different meaning: “Everything will pass. Suffering, torment, blood, hunger and pestilence. The sword will disappear, but the stars will remain when the shadows of our bodies and deeds are gone. There is not a single person who does not know this. So why don't we want to look at them? Why?"

Other compositions on this work

The theme of love has always been, is and will be one of the most exciting topics. At all times, poets, writers, philosophers have addressed this topic. And in our time, when wars follow one after another, when people begin to forget about what friendship, trust, help, selflessness are, this topic is very relevant. In addition, in my opinion, it is in the "White Guard" that the theme of love is revealed very sincerely, deeply and multilaterally. The theme of love is multifaceted. You can talk about love for the Motherland, and about love for a woman. I will focus on two aspects of love. This will determine the structure of my composition. The first part will be devoted to love and relationships in the Turbins family, while the second - to love that unites loving hearts.

Bulgakov's novel opens with a majestic image of 1918: “The year was great and the year after the birth of Christ in 1918 was great, and the second from the beginning of the revolution. It was plentiful in the summer with the sun, and in the winter with snow, and especially high in the sky were two stars: the shepherd's evening Venus and the trembling red Mars. " This short introduction sounds rather menacing, as if warning about the tests that await the Turbins. These stars are not just images, they are symbolic images. And if you decipher them, you can see that already in the first lines of the novel, the author declares the themes that excite him: love and war.

The cold and terrible image of 1918 is alarming and even frightening. And therefore, when Turbines suddenly appear against its background, you immediately feel a sense of closeness and trust to them. You grieve with them when they say goodbye to their mother forever, and worry about their future. And this contrast at the very beginning of the novel, in my opinion, is not accidental. Bulgakov sharply opposes this family to the whole image of 1918, which carries in itself horror, death, pain. We clearly understand the position of the author in relation to this family. What is family? A family is a circle of people who are endlessly devoted and loving each other. These are people united by blood ties, for whom their union is the most important. Can the Turbins be called a family? Undoubtedly. Moreover: Turbines are Bulgakov's ideal of the family. They have all the best that a truly strong family can have: kindness, simplicity, honesty, mutual understanding and, of course, love. But not only this is important for Bulgakov. His heroes are dear to him, because they are people at home. The Turbines are ready to defend their home, warm and cozy. “House in the broadest sense is a city, Russia ...” That is why the careerist Talberg and the coward Vasilisa, who ran away and hid from all worries in their kennel, cannot be members of this family. The Turbins' house is a fortress, which they protect and defend only together, together. It cannot be otherwise. And, of course, it was no coincidence then that Bulgakov's appeal to the details of church rituals: the funeral service for his mother, Alexei's appeal to the image of the Mother of God, the prayer of Nikolka, who miraculously escaped death ... Everything in the Turbins' house is imbued with faith and love for God and his neighbor. This is inherent in them since childhood, and this gives them the strength to resist the violence of the outside world. Since 1918 is such, "... that not a single family, not a single person could escape suffering and blood," this cup and the Turbins family did not pass. There are two ways out on the surface: escape - this is what Talberg does, leaving his wife and loved ones, or going over to the side of the forces of evil, which will be done by Shervinsky, who appears in the finale of the novel in front of Elena in the form of a two-color nightmare and is recommended by the commander of the rifle school, comrade Shervinsky. But there is also a third way - confrontation, which the main characters - Turbines - enter. It is this belief in love that binds the family together and makes it stronger.

Bulgakov tells us that Orthodoxy is an integral part of the ideal Russian family. It is possible that this is what makes this family Russian. And then Bulgakov's frequent reference to church vocabulary is understandable, then the words from the epigraph acquire a deep meaning: "And the dead were judged according to what was written in books, in accordance with their deeds ...". We know very well that these lines are from the Gospel. But the author does not sign them in any way. Why? Because it seems that these words are being spoken by the Turbins themselves. Let us recall the lines from Elena's prayer: "We are all guilty in blood, but you do not punish." Bulgakov leads this family through many trials, as if trying to test the strength of their union. But grief always only brings you closer together. In such a terrible time as 1918, they take to their family a person who needs them so much - Lariosika. The turbines take care of him as a member of their family, trying to warm him with their love. And after a while, Lariosik himself realizes that he cannot live without this family, without these kind and open people. Therefore, Turbines attract such different characters: Myshlaevsky, Shervinsky, Karas and Lariosik. Lariosik's words immediately come to mind: "... and our wounded souls are looking for peace just behind such cream curtains ...".

Why is Bulgakov so dear to his Turbines? Because the Turbines are none other than the Bulgakovs, but, naturally, with some differences. Mikhail Afanasevich Bulgakov lived in house number 13 on Andreevsky (in the novel Alekseevsky) descent in the city of Kiev. In the heroes of the novel, you can recognize the Bulgakov family. In Alexey Turbin - Mikhail, in Elena - one of his four sisters, Varya. In Nikolay - the younger brother, Ivan. Therefore, when, while reading the novel, we immerse ourselves in the atmosphere of the Turbino house, one gets the impression that we have visited the writer and his family. Life, according to Bulgakov, is love and hate, courage and passion, the ability to appreciate beauty and kindness. But in the very first place - it is love. And the author emphasizes this already at the beginning of the novel, opposing Venus to Mars in the cosmic coordinate system. Love is romantic, earthly, carnal and poetic - it is the force that drives the events of the novel. For her sake, everything is done and everything happens. “They will have to suffer and die,” says Bulgakov of his heroes. And they really have a hard time. And in spite of everything, love overtakes almost every one of them: Alexei, and Nikolka, and Elena, and Myshlaevsky and Lariosik - Shervinsky's unlucky rivals. They receive this love as a gift from God, and it helps them survive and overcome. Love never dies, otherwise life itself would die. And life will always be, it is eternal. And to prove this, Bulgakov turns to God in Alexei's first dream, where he dreamed of God's paradise. "For him, God is eternal truths: justice, mercy, peace ...".

If the final chapter of the White Guard, found in 1991, had practically no effect on the topic of family relationships, then the topic of love is revealed, taking into account this last chapter, in a completely different way. If in the "old" "White Guard" the relations between Julia and Alexei, Elena and Shervinsky are shown rather sparingly, then in the final part of the plot the curtain is significantly opened. What do we know from the old version of the novel about the relationship between Alexei and Yulia, Nikolka and Irina, Elena and Shervinsky? Very little. Bulgakov allegedly only hints at the feelings that arose between the heroes, practically not paying them special attention. But these hints speak more than any words. Alexei's sudden passion for Julia, Nikolka's tender feeling for Irina, did not disappear from us.

Bulgakov's heroes love very naturally, without realizing that this feeling has overtaken them. But, despite the sincerity of feelings, almost all the love stories of the heroes of the "White Guard" must end in tragedy. Should, but may not end, we do not know and will never know. We can only speculate.

Yes, love unites the heroes of the novel. It is one for all of them. It is as if she is also the hero of the work, and the hero is not simple, but the main one. Love is the central image of the novel. And, like any other image, love is multifaceted and each character has its own. Alexey and Yulia ... Starting from their first meeting, their relationship radically affects the life of one and the other. “When Alexei runs away from the Petliurites and death stares at him in the back, as if a miracle appears in front of him a woman and takes the pursuers away from under her nose. Death was chasing him, but love caught up. " Julia is the savior of Alexei. Saving him, she not only gives him salvation, but also brings love into his life, which, in turn, can save a person from everything. Love is like a deadly weapon against pain and evil. But at the same time, she herself is fraught with suffering. Their feeling flared up as suddenly and brightly as a chip thrown into a fire ignites. They were immediately drawn to each other, a feeling took possession of them, and unnecessary words were completely useless. One gets the impression that they were made for each other, that they have known each other for ages. If it was necessary to create an image with which their relationship would be associated, then fire would be very suitable. Very bright, hot, burning, destructive. Fire as a symbol of stormy elements, as a symbol of passion. Since it is passion, one of the facets of love, that unites Alexei and Julia.

A completely different matter is Nikolka and Irina. If Bulgakov told us at least a little about Alexei and Yulia, then practically nothing about Nikolka and Irina. Irina, like Julia, enters Nikolka's life unexpectedly: the younger Turbin, prompted by a sense of duty and respect for the officer Nai-Turs, decides to inform the Turses family of the death of their relative. It is in this family, a stranger to him, that Nikolka will find his future love. Tragic circumstances bring Irina and Nikolka closer together. Perhaps this is one of the main reasons for the emergence of such pure and quivering feelings. Interestingly, the text of the novel describes only one meeting between them. There is not a single recognition and mention of love, not a single reflection of the heroes about each other.

The relationship between Irina and Nikolka is developed in chapter 21 of the novel. Remarkable is the image of the appearance of Irina Nai-Tours, who was first invited to the house, the excitement of Nikolka, his jealousy of Myshlaevsky, who makes fun of the lover. When Nikolka sees Irina off, he in a hurry forgets his gloves, and she, since it was very frosty, does not allow herself to be taken by the arm. Nikolka turned pale and firmly swore to the star Venus: "I will come and shoot myself at once." But she slipped his hand into her muff next to hers, and he fell silent. And when, after the kiss, the hero returns home, "the city was blinded by the Moon and the darkness-darkening stars flaunted over it ...".

If the image of Alexei's love was fire, then the image of Nikolka's love was definitely water. She is as pure, clear, calm as Nikolai's feelings. And it is absolutely clear to us that these lovers will be happy for a long time to come. Bulgakov's novel "The White Guard" is permeated with many storylines. In his work, the writer shows us relationships of a completely different nature: these are family ties and love relationships. But whatever relationship it is, it is always driven by feelings. Or rather, one feeling is love. Love can destroy, and it can save. Love has united the Turbins family and their close friends even more. Love can lead to happiness, or it can lead to tragedy. Alexei's love ended in death, and for Nikolka - in the acquisition of the meaning of life. That's how contradictory this bittersweet feeling is.

In my opinion, Mikhail Afanasevich compares the images of the stars with love. "Red trembling Mars" is Alexei's passion and fire, and "Shepherd's Venus" is Nikolka's pure love. Stars are eternal, like love. And then the final words take on a completely different meaning: “Everything will pass. Suffering, torment, blood, hunger and pestilence. The sword will disappear, but the stars will remain when the shadows of our bodies and deeds are gone. There is not a single person who does not know this. So why don't we want to look at them? Why?"