A. I. Kuprin’s story “Shulamith” is interesting simply because its plot is based on one of the biblical legends, surprisingly humane in character, poignant and eternal. This legend has its roots in the Book of Songs of Solomon, the creation of which is attributed to the real historical figure- Hebrew king Solomon.
“Song of Songs” is the most poetic and inspired, the most “earthly” and “pagan” of the biblical books, created on the basis of folk love lyrics. The plot of the story “Shulamith” is also notable for the fact that it is simple only in appearance. But after reading, the question arises: what is this story about? One can without tension assume the following answer: “King Solomon fell in love with the poor peasant girl Shulamith, but because of the jealousy of the abandoned wife of Queen Astis, the poor girl dies with a sword in her chest.” But let’s not rush: after all, this is a parable, a legend with a certain amount of romantic plot, and, therefore, what lies on the surface cannot exhaust the full depth of the generalization contained in the work. Therefore, the next question can be formulated as follows: “What else is this story about, is it only about tragic love because of someone's jealousy? This book, first of all, is about a wise, handsome, courageous man named Solomon and about a gentle, affectionate, beautiful girl named Shulamith; this book is a hymn to uniqueness, uniqueness, the greatness of the beauty of the female body and the theme of love. Shulamith's love is "strong as death." But... Why are these two concepts constantly paired with each other? Maybe for the sake of saying something nice? But no, death really does not keep itself waiting long - only seven days were allotted to Shulamith and Solomon to enjoy the greatest and strongest feeling in the world - Love.
So is jealousy - albeit “cruel as hell,” but still a low feeling - the reason for the death of Shulamith? Somehow these things don't fit together. And I don’t want to think that this is exactly the case. Then what? Why did Shulamith die? But how could it be otherwise? The girl was doomed to death from the very moment when she met the king, from the very moment when they fell in love with each other - well, what else could await Shulamith in Solomon’s palace?! This is only the external side of the problem: royal power, palaces, the social status of people are just a background, a decoration great drama called Life. Nothing, absolutely nothing would have changed if we were talking about a peasant woman and a peasant, about a princess and a pauper, in a word, about people who are loved and loving. Love, having been born, is doomed to death, just as a person, once born, must sooner or later die: the world has not heard (and will never hear) of someone dying without being born!
So in the case of Kuprin’s heroes, the situation was “programmed” from the very beginning. But in order not to fall into one-sided judgments, it is necessary to keep in mind the following: it is necessary to interpret the concept of “death” more broadly; death means not only the cessation of physical existence, but a transition, or rather the moment of transition from one state to another. Shulamith, her love is like that fragrant flower that after fertilization “dies”, turning into a fruit. And like that flower, Shulamith and her love “die”, turning into the “Song of Songs” - this ever-living monument to Femininity, Beauty and Love.
But even if Shulamith had not perished, then Love would have “died.” As, indeed, Solomon’s beloved herself. Moreover, we would never have known about her, because Shulamith would soon have become different, and the love between her and Solomon would have acquired a new quality, the quality of a banal family idyll. This does not mean that the love of a wife and husband is bad or worse, but it does mean that the Song of Songs simply would never have appeared. What does the story “Shulamith” give us? Comprehension of the truth - difficult, perhaps bitter, but this does not cease to be true. In addition, having realized such things, a person gets rid of illusions, learns to realistically evaluate life, prepares himself for the future, so as not to be disappointed, not to become despondent from the inevitable metamorphoses that existence has prepared for him.
Throughout the existence of mankind, thousands of writers and poets have spoken about love. After all, this is the leading feeling in the life of every person. Almost every second work in the world is devoted to this immortal theme. I believe that in the literature of the twentieth century there is one of the most beautiful novels about love - this is “The Master and Margarita” by M.A. Bulgakov.
The theme of love in the work is revealed by the images of the main characters - the Master and Margarita. A man who calls himself the Master appears on the pages of the novel before his beloved. Ivan Bezdomny meets him in a clinic for the mentally ill. Talented writer tells Ivan the story of her life, her romance and her love. He was a historian, worked in a museum, then unexpectedly won a huge amount of money, quit his job and began writing a novel about Pontius Pilate, which he had been planning for a long time. Apparently, fate itself pushed the hero to creativity, which slowly began to lead him to the abyss.
And then Margarita appears. This is perhaps the most beautiful, lyrical, romantic part of the novel! “She was carrying disgusting, disturbing yellow flowers in her hands. The devil knows what their names are, but for some reason they are the first to appear in Moscow. And these flowers stood out very clearly on her black spring coat. She carried yellow flowers! Not a good color."
This meeting of heroes was intended from above, and yellow is like a signal of subsequent difficulties and suffering.
We are not given detailed description Margarita’s appearance, we only see that the Master “was struck not so much by her beauty as by the extraordinary, unprecedented loneliness in her eyes!” The creator and his inspirational muse met: “She looked at me in surprise, and I suddenly, and completely unexpectedly, realized that I had loved this woman all my life!”
As mentioned above, the meeting of the Master and Margarita is described in a surprisingly romantic way, but we are not left with a state of anxiety. Love did not enter their lives quietly, “on soft paws.” In this case, the words of the Master himself are very clear: “Love jumped out in front of us, like a killer jumps out of the ground in an alley, and struck us both at once! That’s how lightning strikes, that’s how a Finnish knife strikes!”
The image of a knife here is not accidental. There is a fairly obvious element of violence in the feelings of the heroes. It seems that somewhere high up their fate was decided much earlier. And on the appointed day and hour, they simply have no choice but to love each other.
Much further, in the nineteenth chapter, we learn directly about the feelings of Margarita herself. The chapter begins with Bulgakov’s address to his reader: “Follow me, reader! Who told you that there is no real, true, eternal love? May the liar's vile tongue be cut out! Follow me, my reader, and only me, and I will show you such love!
Indeed, Margarita Nikolaevna personifies faithful, devoted, all-consuming love in the novel. In this image, Bulgakov revealed his ideal of a woman, a faithful companion of a true genius. In many ways, the image of Margarita is endowed with the features of the writer’s wife, Elena Sergeevna Bulgakova.
At the very beginning of the chapter, the author tells us the fate of his heroine: “Many women would give anything to exchange their life for the life of Margarita Nikolaevna.” She had a young, handsome, kind husband who adored his wife. “The two of them occupied the top of a beautiful mansion in a garden in one of the alleys near Arbat. Charming place! Margarita never needed money and was always provided with everything she needed. But this woman was not happy “not for a single minute.” The understanding that she was not living her own life tormented Margarita.
The meeting with the Master gave the heroine a new happy life. They were very good together until terrible life circumstances separated them. The master has disappeared, but Margarita remains faithful to her lover. Like the greatest treasure in the world, she cherishes everything that concerns her beloved: “... an old brown leather album in which there was a photograph of the Master, ..., dried rose petals spread between sheets of tissue paper and part of a notebook in whole sheet, written on a typewriter and with a burnt bottom edge.”
A loving woman is truly ready to do anything to get her Master back. So, Margarita agrees to Azazello’s proposal and visits the mysterious foreigner. Even a meeting with Satan himself cannot stop her. Love is stronger, love has no barriers, because it can destroy all walls. Margarita becomes queen at the great ball evil spirits. She does all this only with the thought of her lover. I truly admire the power of this woman's love! I think that only thanks to her feelings and her efforts the characters were reunited at the end of the work.
But real all-consuming love there is no place in cruel reality. Therefore, the Master and Margarita die for the world around them. Thanks to Woland, they go to a completely different reality, where eternal peace and love await them.
I was incredibly delighted by this brilliant work of Bulgakov. Indeed, in his novel the author touched on a huge number of topics. But most of all I was struck by the image of Margarita as a symbol of deep and strong love. This heroine is very close to me for her self-sacrifice. I believe that for the sake of love you can overcome all obstacles and difficulties.
A. I. Kuprin’s story “Shulamith” is interesting simply because its plot is based on one of the biblical legends, surprisingly humane in character, poignant and eternal. This legend has its roots in the “Book of Songs of Solomon,” the creation of which is attributed to a real historical figure - the Hebrew king Solomon.
“Song of Songs” is the most poetic and inspired, the most “earthly” and “pagan” of the biblical books, created on the basis of folk love lyrics. The plot of the story “Shulamith” is also notable for the fact that it is simple only in appearance. But after reading, the question arises: what is this story about? One can without tension assume the following answer: “King Solomon fell in love with the poor peasant girl Shulamith, but because of the jealousy of the abandoned wife of Queen Astis, the poor girl dies with a sword in her chest.” But let’s not rush: after all, this is a parable, a legend with a certain amount of romantic plot, and, therefore, what lies on the surface cannot exhaust the full depth of the generalization contained in the work. Therefore, the next question can be formulated as follows: “What else is this story about, is it just about tragic love because of someone’s jealousy?” This book, first of all, is about a wise, handsome, courageous man named Solomon and about a gentle, affectionate, beautiful girl named Shulamith; this book is a hymn to uniqueness, uniqueness, the greatness of the beauty of the female body and the theme of love. Shulamith's love is "strong as death." But... Why are these two concepts constantly paired with each other? Maybe for the sake of saying something nice? But no, death really does not keep itself waiting long - only seven days were allotted to Shulamith and Solomon to enjoy the greatest and strongest feeling in the world - Love.
So is jealousy - albeit “cruel as hell,” but still a low feeling - the reason for the death of Shulamith? Somehow these things don't fit together. And I don’t want to think that this is exactly the case. Then what? Why did Shulamith die? But how could it be otherwise? The girl was doomed to death from the very moment when she met the king, from the very moment when they fell in love with each other - well, what else could wait for Shulamith in Solomon’s palace?! This is only the external side of the problem: royal power, palaces, the social status of people - this is just the background, the decoration of the great drama called Life. Nothing, absolutely nothing would have changed if we were talking about a peasant woman and a peasant, about a princess and a pauper, in a word, about people who are loved and loving. Love, having been born, is doomed to death, just as a person, once born, must sooner or later die: the world has not heard (and will never hear) of someone dying without being born!
So in the case of Kuprin’s heroes, the situation was “programmed” from the very beginning. But in order not to fall into one-sided judgments, it is necessary to keep in mind the following: it is necessary to interpret the concept of “death” more broadly; death means not only the cessation of physical existence, but a transition, or rather the moment of transition from one state to another. Shulamith, her love is like that fragrant flower that after fertilization “dies”, turning into a fruit. And like that flower, Shulamith and her love “die”, turning into the “Song of Songs” - this ever-living monument to Femininity, Beauty and Love.
But even if Shulamith had not perished, then Love would have “died.” As, indeed, Solomon’s beloved herself. Moreover, we would never have known about her, because Shulamith would soon have become different, and the love between her and Solomon would have acquired a new quality, the quality of a banal family idyll. This does not mean that the love of a wife and husband is bad or worse, but it does mean that the Song of Songs simply would never have appeared. What does the story “Shulamith” give us? Comprehension of the truth - difficult, perhaps bitter, but this does not cease to be true. In addition, having realized such things, a person gets rid of illusions, learns to realistically evaluate life, prepares himself for the future, so as not to be disappointed, not to become despondent from the inevitable metamorphoses that existence has prepared for him.
Elizabeth
Mankovskaya
Elizaveta MANKOVSKAYA is a graduate of Moscow school No. 57. Literature teacher is Nadezhda Aronovna SHAPIRO.
“Blessed be the love that stronger than death!”
D.S. Merezhkovsky
Based on the novel “The Master and Margarita” by M.A. Bulgakov
Statement by D.S. It is interesting to apply Merezhkovsky, an emigrant writer of the 20th century, to the work of another writer of the 20th century, who was not allowed to go abroad.
In Bulgakov's novel "The Master and Margarita" the theme of love, stronger than death, is one of the main ones. It is not for nothing that the title of the work changes during the work. From the titles of early editions (for example, “The Engineer’s Hoof”), which emphasized that the main place in the novel is occupied by the appearance of Satan, Bulgakov comes to putting in the title the names of the main characters, clearly indicating that the leading role in the novel is given to the line of the Master and Margarita. With this “and” Margarita is firmly united with the Master (like Pilate with Yeshua: “If they remember me, they will immediately remember you”), and the Master himself appears in the novel with a story about his life, the main plot of which is the story of his love.
The appearance of the Master’s girlfriend opens the second part of the novel, which begins with these words: “Follow me, reader! Who told you that there is no true, faithful, eternal love in the world? May the liar's vile tongue be cut out!
Follow me, my reader, and only me, and I will show you such love!”
One of the features of Bulgakov is that the problems addressed in the novel are essentially simple. He does not explore shifts in consciousness, nor the multiplicity of points of view on a problem. There is only one point of view: betrayal is certainly disgusting, creativity and love are certainly beautiful. In Bulgakov, the spiritual values of a person, like his vices, represent a kind of absolute; they are eternal. It is this feeling that comes from turning to the Gospel story. Margarita’s love for the Master is a given (“She, of course, did not forget him”). It is characteristic that Margarita herself claims that she and the Master “loved each other, of course, a long time ago, without knowing each other, without ever seeing...”
It is curious that this absolute love, “which is stronger than death,” is presented in the novel precisely through the image of death: “Love jumped out in front of us, like a killer jumps out of the ground in an alley, and struck us both at once!
That’s how lightning strikes, that’s how a Finnish knife strikes!” - Master says to Ivanushka.
These two concepts, which unexpectedly turn out to be synonymous, are generally closely related in the novel. Margarita, in response to Azazello’s invitation, says: “I am dying because of love,” meaning that she is “being pulled into some kind of dark history”, for which she “will pay a lot.”
At the same time, if we consider Margarita’s stay at Satan’s ball and her transformation into a witch from the point of view Christian tradition and regarded as the death of the soul, then these words of hers turn out to be prophetic. And when Margarita in the Alexander Garden begs the Master to “let go” of her, to “leave from memory,” she realizes that he could have been exiled and died, and this is how she understands her dream the day before: “He is dead and beckoned me.”
However, even more interesting interweavings are found in the Yershalaim chapters. No clear love affair not here, only a hint of it sounds in the words of Judas Nize: “I wanted to come to you. You said you'd be home." However, it is interesting what role Nisa plays in the murder of Judah. It’s as if the metaphor of the Moscow chapters is being realized here (or vice versa - is this a reflection there?): love, like a killer, overtakes the victim. Nisa lures Judas to the olive press, and he, waiting for her, calls: “Niza!” “But instead of Niza, a stocky male figure jumped out onto the road, peeling off from the thick olive trunk”...
And if love strikes the Master and Margarita in the heart like a Finnish knife, then Judas, instead of a love meeting, receives a blow with a knife under the shoulder blade.
In the Yershalaim chapters, the theme of love for people, almost not touched upon in Moscow, also appears, also connected with death. She is certainly connected with the image of Yeshua Ha-Nozri. Considering everyone “good people”, “doing no harm to anyone,” he dies on the cross. AND this love is stronger than death; Bulgakov took the issue of resurrection outside the scope of the book, but it is obvious that the image of Christ he creates is not the image of a common man.
It is the criterion of this highest love that determines the fate of the heroes. The fact that the Master and Margarita did not deserve light, but deserved peace, may also be explained by the fact that this they have no love. And the mercy shown by Margarita (Frida’s forgiveness) is explained, perhaps, not so much by love for people - Margarita is not of “exceptional kindness”, not a “highly moral person” - but by the fact that she “had the imprudence to give<…>firm hope” Frida.
The denouement of the novel gives everyone “according to their faith”: the one who deserved the light received it; and the Master and Margarita, who do not crave it, who strive not for love for the whole world, but for union with each other, receive peace, which is nothing more than just life. Calm and happy. Beyond death.
Russian Lit
The theme of love has worried people at all times. At the beginning of the twentieth century, in an era of global historical changes, attention in literature to the personality of an individual person with his difficult fate and insoluble mental problems. One of the writers who embodied the theme of love, omnipotent and all-consuming passion on the pages of their works was A.I. Kuprin.
In the stories “Garnet Bracelet”, “Olesya”, “Shulamith” the writer in more detail explores the history of origin, development and tragic outcome love relationship, for love, according to the writer’s concept, is not only greatest miracle in the world, but also invariably painful suffering.
D.S. Merezhkovsky wrote that love is stronger than death. This idea is embodied in the plot of the story “The Garnet Bracelet”: a poor young official Zheltkov falls in love with a girl, Vera, who soon marries Prince Shein. The unfortunate young man is unable to hide his feelings. Zheltkov sends Vera an expensive gift ( family heirloom) - beautiful garnet bracelet, the red stones in which resemble droplets of blood. Already in this episode of the story, next to the theme of love, a tragic note sounds, foreshadowing a bloody denouement. As an honest, decent woman, Vera informs her husband about the gift. And he goes with her brother to Zheltkov to ask him to leave Vera alone. The telegraph operator explains that he is unable to live without his beloved. And the next day Vera finds a note in the newspaper about the death of her devoted admirer. The princess feels some kind of guilt for what happened: after all, Zheltkov committed suicide because of her. Vera goes to say goodbye to the apartment where the official lived, and only then does she finally understand how much this man loved her. He was able to sacrifice his life to preserve her peace and good name. Vera understands that something whole has passed her by, deep feeling, which perhaps only occurs once in a lifetime. Her husband also loves her, but this is a calm, settled feeling that has nothing in common with the ardent passion of a romantic admirer. For her birthday, Prince Shein gives his wife pear-shaped pearl earrings that look like tears.
Vera's circle laughed at Zheltkov's feelings. Prince Vasily Lvovich even keeps a home humorous album, in which there is a story “Princess Vera and the Telegraph Operator in Love,” which satirically ridicules his rival, whom he actually does not consider to be such at all. In Shein's story, a telegraph operator dies, bequeathing to Vera "two telegraph buttons and a perfume bottle filled with his tears." In the main plot of the work, Zheltkov leaves his beloved only farewell letter with a beautiful sentimental story about love, where the words from the prayer “Hallowed Your name" The official understands that Vera will survive his death. He tries to anticipate this and ease her suffering by offering to listen to Beethoven's Sonata in D major No. 2, op.2.
At the end of the story, this amazing music, performed by pianist Jenny, calms Vera and helps her to console herself. No less tragic, but at the same time beautiful, is the love story of King Solomon for the simple girl Shulamith, told by Kuprin in the story “Shulamith.” The beloved was treacherously killed by order of a wounded rival, and Solomon’s grief knew no bounds. However, the reader gets the impression that the feeling for Shulamith did not die in his heart precisely because death separated the heroes at the very height of their love experience.
Let us remember that before Shulamith, Solomon had 300 wives and 700 concubines. It is possible that Shulamith, if she remained alive, would soon tire of the sophisticated Solomon, and another girl would take her place. Kuprin wants to believe in the dream of eternal, enduring love, which is stronger than death.