Self-love - everyone has, but each in a different degree. How does self-love affect a person, his spirituality? - today we are answering this difficult question.

The definition of self-love:

caring only about yourself, about your interests; selfishness.

Self-love and religion

Self-love is not on the list of deadly sins, but any priest will tell you that self-love is the cause of all other sins.

Self-love is the fulfillment of a person's whims. And gluttony, and lust, and pride, and vanity, and envy, and stubbornness, and greed, and - this list can be enumerated endlessly, and all this is one reason - selfishness.

The opposite of self-love is belief in God, divine,. Since there can be no place in a person for a creator if all his thoughts, desires and actions are subordinated only to his ego. That is why the divine, ideal tool for achieving goals - - does not work for us. How can God help someone who does not think about him, whom he has banished from himself, replacing with his own whims?

Self-love and parapsychology

On the Spiritual Healing course, we also received a question about self-love:

Is it true that the ego and the true self live in us? How to separate your true self from the ego? What is the difference between egocentrism (selfishness) and selfishness? After all, the commandments say that you need to love your neighbor as yourself ... So self-love is normal, but selfishness is a sin? What is the difference between selfishness and selfishness? Thanks to.

The teacher Elena Nikolaevna Kuzmina answers (0:08:52):

There is a very simple example of how to check if you have an ego in you? - Imagine that tomorrow your husband or wife will go to another (oh), and he (she) will be many times better than you. And see your reaction. If you say yes, I am ready for my ex-half to be many times happier, richer, more successful, then you will immediately understand whether self-love eats in you or not. It is your ego that seeks to take everything for itself, but does nothing for this.

And only the true I will tell you, look how happy he (she) will be. And this is possible only if you love truly, of course, divinely.

From the experience of the practice-parapsychologist Elena Nikolaevna, no one loves himself, everyone works only for their ego, indulging their base whims.

We save for ourselves: we are not ready to pay for a course of spiritual development, buy comfortable and high-quality clothes or a complete, healthy food product. But to drain your money for dummies, trifles, in some investment funds (pyramids), pump other people's goals, it's always easy.

We spare money for spiritual development, for our true Self, for our soul. At the same time, to eat three pieces of cake, which will only harm the body, but will simultaneously satisfy our gluttony - we do not mind the money for this.

Self-love and selfishness are terrible, dangerous and cunning enemies of the human soul, only spiritual development can help to cope with them.

Selfishness is suicide. A proud person dries up like a lonely tree ... "(I. S. Turgenev)

Pushkin borrowed the plot of his ballad "The Song of the Prophetic Oleg" from the chronicle history of Oleg. The image of Prince Oleg, drawn by Pushkin, differs little from the chronicle original.

The very first lines of the ballad contain the prince's assessment - "prophetic", that is, wise. Oleg, together with his retinue, is going to a campaign against the "unreasonable Khazars". The latter has already signed a "verdict" - for "violent raids" Oleg "condemns" them to "swords and fires." That is, Oleg is not only a wise person, but also confident in his own strength and righteousness.
On the way, he meets an "inspired wizard" who comes out to meet Oleg's squad from the forest. Pushkin says that the old man is "obedient to Perun alone," that is, he is a priest of the Slavic god Perun. The old man believes and obeys only
to your god. The sorcerer spent his life "in supplication and divination."
Hearing a terrible prophecy, the prince believed in the prediction and decided to part with his "faithful servant" - a war horse.

Having won the victory, Oleg remembers the horse, and he is informed that he died long ago. Oleg bowed his head - he felt sorry for the good horse, which could still serve him, and it is a shame that he trusted the "deceitful, crazy old man." The prince regrets that he did not “despise” the prediction as soon as he heard it. Oleg goes to look at the bones of the horse. The prince steps on the horse's skull, while saying that he survived it and will not accept death from him. Sarcastically, the prince says, looking at the horse's skull: “So this is where my death lurked! The bone threatened me with death! " A snake crawled out of the skull, which stings the prince, and the bite turns out to be fatal. Thus, the prediction of the sorcerer came true.

Oleg is confident in himself, but he believes in higher powers more. In this way, he and the sorcerer are alike. But it is also obvious that, unlike the magician, whose faith in providence is unshakable, Oleg immediately became disillusioned with the power of heaven as soon as he learned about the death of the horse. That is, we can conclude that the sorcerer is a stronger and more integral nature.

The word "prophetic" is often found in the ballad. At the same time, Pushkin calls both the magician and Oleg “prophetic”. But it is obvious that it is possible to call a magician rather than a prince really wise, and not only because the prediction of the magician did come true. Suffice it to recall the answer of the sorcerer to Oleg, his words addressed to the prince.

Thus, the character of Pushkin's Oleg is ambiguous: on the one hand, he is a brave warrior, a wise man. But still, he is an ordinary person who has a tendency to doubt. The magician in this respect stands above the prince, and other people, he is close to the highest, and doubts do not disturb him.

Of course, the image of Prince Oleg is worthy of respect. But at the same time, we see that it was precisely excessive self-esteem, the inability to fully trust the wise counselor that became the cause of his death.

1. The emergence of proud heroes in 19th century literature.
2. Onegin and Pechorin are two outstanding representatives of their time.
3. The tragedy of the "superfluous" person.

For quite a long time, writers in their works idealized the image of the protagonist, endowing him with extremely positive qualities. The result was a great role model. He may have had his own small flaws, but on the whole he met all the norms of ethics and morality. New trends emerged in 19th century literature. There was a desire to paint an image of his contemporary, a hero, whose portrait would be composed "of the vices of the entire generation, in their full development." A real proud person who, like Russia at that time, found himself at a crossroads.

Many writers have tried to reveal this problem on the pages of their works. The development of this theme can be traced especially clearly in the works of A. S. Pushkin and M. Yu. Lermontov. Onegin and Pechorin were close and understandable to their contemporaries, because they really reflected the mood of everyone. At that time, Russia faced a difficult choice: “How to develop further? Which way to go? " Each person had to take a certain civic position. The prevailing conditions awakened in people not only good, but negative qualities. It was selfishness and selfishness that forced many to commit certain actions.

Pushkin introduces us in great detail to the life of Eugene Onegin, with the environment where he grew up, and the society in which he found himself. The main character received a typical upbringing for that time. His teacher was a Frenchman, who gave the young Onegin a rather superficial education, which, however, was enough. Eugene's life in St. Petersburg is of a consumer nature, consists only of entertainment and pleasures. He, possessing all the virtues of a young man, successfully enjoyed the benefits of a secular society. However, such an aimless existence soon bored Eugene. Onegin is disappointed in life. “Languishing in spiritual emptiness,” he tries to engage in some useful activity. But not used to work and efforts, Eugene soon becomes only a passive observer. Onegin is selfish and proud. He treats people with disdain, although he is sincerely attached to Lensky. But even his affection and affection do not bring happiness to those around him, and even to himself. Eugene kills his friend, rejects the girl's first serious feelings. His tragedy lies in the fact that at the right moment he missed his chance. Fearing to lose his freedom, the main character refuses Tatiana, which he greatly regrets in the future. It was Tatyana Larina who was sent to Onegin to help him "wake up" in this world. Only seven years later, he realizes his mistake and understands the full power of love and passion. The halo of a secular lady is intriguing and bewitching. Tatiana, feeling the selfishness that lies at the heart of his love for her, refuses Eugene.

The sufferings of Pechorin, the protagonist of the novel by M. Yu. Lermontov "A Hero of Our Time", are similar to the torments of Onegin. He can even be called the Onegin of his time. After the complete defeat of the Decembrist uprising of 1825, he, as a man of advanced thinking, on the one hand, rebelled against the previously accumulated values, on the other hand, he could not find himself and his application in this new stage of life. Fed up with all the blessings of society, Pechorin, in search of exotic things, travels to the Caucasus, hoping that "boredom does not live under the Chechen bullets." But even there he does not find inner peace. It should be noted that, unlike Onegin, the protagonist does not become a silent observer. He is frantically chasing life, constantly looking for danger, but he can not find any sense in this. For all his giftedness, he is a “moral cripple”. His character is extremely controversial. All the blame for his fate he shifts to the light, explaining in "Princess Mary" where his bad inclinations came from: "... Everyone read on my face the signs of bad qualities that were not there; but they were supposed - and they appeared ... I became secretive ... I became vindictive ... I became envious ... I learned to hate ... I began to deceive. " In my opinion, he is to blame for everything himself. Embittered at the world, having convinced himself that no one loved him, Pechorin found himself alone. Finding no use for his immense spiritual forces, he only wastes the most precious thing he has - his life.

The position of both heroes is tragic. Self-centeredness and selfishness create a chasm between them and other people. Even being for a certain period of time "lovers" of society, they, nevertheless, are alien to him and not only through the fault of others. Their fate is not comforting. And if the realization of Onegin occurs through the girl he had previously rejected, then how Pechorin will find his redemption, we can only guess. In any case, excessive self-esteem prevents our heroes from developing harmoniously and existing in this world. Moreover, it unites in a certain group, called "superfluous" people. Herzen said that "the sad kind of superfluous person then appeared not only in poems and novels, but on the streets and in drawing rooms, in villages, in cities." Pushkin and Lermontov were able to convincingly prove the inconsistency of the worldview of their heroes, to warn the reader against mistakes.

Ragedia of the Civil War. (Based on the novel "Quiet Don" by MA Sholokhov.) B) Davydov and Polovtsev in the novel by MA Sholokhov "Virgin Soil Upturned". c) Analysis of the finale of the story by MA Sholokhov "The Fate of a Man".

329. a) What are the results of the life searches of Grigory Melekhov? (Based on the novel by M. A. Sholokhov “Quiet Don.) B) Why is Polovtsev losing the“ battle for the peasant ”? (Based on the novel by M. A. Sholokhov "Virgin Soil Upturned".)

What is the peculiarity of the main character of the story by V. I. Belov "Habitual Business"?

330. The meaning of crowd scenes in the prose of M. A. Sholokhov. (Based on one of the novels: "Quiet Don" or "Virgin Land Upturned".)

331. The theme of the search for truth in the prose of M. A. Sholokhov. (Based on one of the novels: "Quiet Don" or "Virgin Land Upturned".)

332. The problem of a person's moral choice in the prose of M. A. Sholokhov. (Based on one of the novels: "Quiet Don" or "Virgin Soil Upturned".)

The problem of a person's moral choice in the story of M. A. Sholokhov "The Fate of a Man".

333. Life and customs of the Cossacks in the prose of MA Sholokhov. (Based on one of the writer's works: "Quiet Don" or "Virgin Land Upturned".)

334. a) Return of Grigory Melekhov to the farm. (Analysis of the finale of the novel "Quiet Don" by MA Sholokhov: volume 4, part 8, chapter 18.) b) The scene of the "woman's revolt" in the novel by MA Sholokhov "Virgin Soil Upturned". (Analysis of a fragment of chapter 33, book one.)

335. a) Kosheva in the Melekhovs' house. (Analysis of Chapter 2, Part 8, Volume 4 of the novel "Quiet Don" by MA Sholokhov.) B) Explanation of Davydov with Varya. (Analysis of the episode from chapter 24 of volume 2 of the novel "Virgin Land Upturned" by MA Sholokhov.) C) The author in the house of Ekaterina Ivanovna. (Analysis of an episode from the story of K. G. Paustovsky "Notches in the heart".)

336. a) Return of Grigory Melekhov to the farm. (Analysis of the finale of the novel "Quiet Don" by M. A. Sholokhov: volume 4, part 8, chapter 18.) b) The scene of dispossession. (Analysis of an episode from the novel "Virgin Land Upturned" by MA Sholokhov, Book One, Chapter 7). c) The scene of the interrogation of Andrei Sokolov by Muller. (Analysis of the episode of the story by M. A. Sholokhov "The Fate of a Man".)

337. a) Red Army men in the Melekhovs' house. (Analysis of chapter 16, part 6, volume 3 of the novel "Quiet Don" by MA Sholokhov.) B) The dispute of the Gremyachen activists about dispossession of kulaks. (Analysis of Chapter 9 of the book of the first novel by M. A. Sholokhov "Virgin Land Upturned".)

338. The theme of the Russian character in the story of MA Sholokhov "The Fate of a Man".

339. Peculiarities of the folk character in the prose of A. P. Platonov.

The strength of a woman's character in the story of A.P. Platonov "The Sandy Teacher".

340. Moral problems of the lyric poetry of AT Tvardovsky.

341. The theme of memory in the lyrics of A. T. Tvardovsky.

342. How is the theme of war presented in the work of AT Tvardovsky?

343. The image of the "Russian toiler-soldier" in the poem by AT Tvardovsky "Vasily Terkin".

344. "Vasily Terkin" by Tvardovsky is truly a rare book: what freedom, what wonderful prowess ... and what an extraordinary folk soldier's language "(I. A. Bunin).

345. Poem by N. A. Zabolotsky "On the beauty of human faces." (Perception, interpretation, evaluation.)

Poem by N. A. Zabolotsky "Metamorphoses". (Perception, interpretation, evaluation.)

346. Poem by N. A. Zabolotsky "Reading Poems". (Perception, interpretation, evaluation.)

Poem by N. A. Zabolotsky "Everything that was in the soul ...". (Perception, interpretation, evaluation.)

347. Themes, ideas, images of the lyrics of N. A. Zabolotsky.

348. The problem of man and power in the prose of A. I. Solzhenitsyn.

349. Russian village as depicted by A. I. Solzhenitsyn. (Based on the story "Matrenin's yard".)

The peasant theme in the story of A. I. Solzhenitsyn "Matrenin's yard".

350. The truth about the war in modern domestic prose. (Based on the work of one of the writers.)

The truth about the war in the works of modern writers. (1 - 2 works of Russian and native literature)

351. Moral problems of one of the works of modern Russian prose.

The moral problematics of the works of the late twentieth century. (1 - 2 works of Russian and native literature.)

352. The theme of the Russian village in modern domestic prose. (For example 1 - 2 pieces.)

The theme of the Russian village in modern prose. (For example 1 - 2 works of Russian and native literature.)

353. Themes and images of the lyrics of one of the contemporary Russian poets.

354. The image of a contemporary in Russian prose of the last decades. The theme of nature in the works of V. Rasputin.

355. Who is he, "the hero of our time"? (Based on one of the works of modern Russian literature.)

Who is he, "the hero of our time"? (Based on two works of Russian and native literature of the last quarter of the 20th century.)

356. What are the features of the lyrics of one of the modern poets?

357. Nature and man in modern domestic prose. (For example 1 - 2 pieces.)

358. “Accurately and strongly to reproduce the truth, the reality of life - is the highest happiness for a writer ...” (IS Turgenev). (Based on one or several works of Russian literature of the 20th century.)

359. "Understand the living language of nature - and you say: the world is beautiful ..." (IS Nikitin). (Based on one or several works of Russian literature of the 20th century.)

360. "Laughter is often a great mediator in distinguishing truth from falsehood ..." (VG Belinsky). (Based on one of the works of Russian literature of the XX century.)

361. "I do not want and cannot believe that evil was the normal state of people ..." (F. M. Dostoevsky). (Based on one of the works of Russian literature of the 20th century.)

362. “Art certainly strives for good ...” (N. V. Gogol). (Based on one or several works of Russian literature of the 20th century.)

363. "The school of unhappiness is the best school ..." (VG Belinsky). (Based on one of the works of Russian literature of the XX century.)

364. "Only a fully matured soul can truly love ..." (VG Belinsky). (Based on one of the works of Russian literature of the XX century.)

365. "Philistinism is a great evil, it, like a dam in a river, has always served only for stagnation" (A. P. Chekhov). (Based on one or several works of Russian literature of the 20th century.)

366. "War with extreme speed creates new characters of people and accelerates the process of life ..." (A.P. Platonov). (Based on one of the works of Russian literature of the 20th century.)

367. "Poetry is a plow that explodes time ..." (O. E. Mandelstam). (Based on one of the works of Russian literature of the 20th century.)

368. “This is the sign of real art, that it is always modern, vitally useful ...” (F. M. Dostoevsky). (Based on one or several works and Russian literature of the XX century.)

369. “Courage is a great property of the soul” (N. M. Karamzin). (Based on one or several works of Russian literature of the 20th century.)

370. “Strong people are always simple” (LN Tolstoy). (Based on one or several works of Russian literature of the 20th century.)

371. "Happiness and joy of life ... in the truth ..." (AP Chekhov). (Based on one or several works of Russian literature of the 20th century.)

372. “Art has always helped a person in finding the ideal ...” (F. M. Dostoevsky). (Based on one or several works of Russian literature of the 20th century.)

373. “It is determined by suffering and grief to get grains of wisdom ...” (N. V. Gogol). (Based on one or several works of Russian literature of the 20th century.)

374. "Love is so omnipotent that it regenerates ourselves ..." (F. M. Dostoevsky). (Based on one or several works of Russian literature of the 20th century.)

375. "Man has always been and will be the most curious phenomenon for man ..." (VG Belinsky). (Based on one of the works of Russian literature of the 20th century.)

376. “Finding your way, knowing your place - that's all for a person, it means for him to become himself ...” (VG Belinsky). (Based on one of the works of Russian literature of the XX century.)

377. “The revolution reveals both the height of human nature and the destruction of spiritual values” (N. A. Berdyaev). (Based on one or several works of Russian literature of the 20th century.)

378. "Society finds its real life in literature ..." (In G. Belinsky). (Based on one or several works of Russian literature of the 20th century.)

379. “Every noble person is deeply aware of his blood ties with his fatherland” (VG Belinsky). (Based on one or several works of Russian literature of the 20th century.)

380. "The disease of love is incurable ..." (A. Pushkin). (Based on one or several works of Russian literature of the 20th century.)

381. "War is one of the greatest sacrileges against man and nature" (A. Pushkin). (Based on one or several works of Russian literature of the 20th century.)

382. “A real writer is the same as an ancient prophet: he sees more clearly than ordinary people” (A. P. Chekhov). (Based on one or several works of Russian literature of the 20th century.)

383. "Suffering and pain are always obligatory for a wide consciousness and a deep heart" (F. M. Dostoevsky). (Based on one or several works of Russian literature of the 20th century.)

384. "People cannot get rid of thought ..." (KS Aksakov). (Based on one or several works of Russian literature of the 20th century.)

385. “Art does the work of memory: it chooses from the flow of time the most vivid, exciting, significant and captures the e

What condemns and what justifies Lermontov in Pechorin (Option: Complexity and contradictory character of Pechorin)

Selfishness is suicide.

A proud person dries up like a lonely tree ...

I. Turgenev

The strip, stretching from 1825 through the 30s and 40s of the XIX century, turned out to be a dead timelessness. Herzen was right when he said that "the future generation will more than once stop in bewilderment" in front of this "smoothly killed wasteland, looking for the missing paths of thought."

For the people of the Nikolaev era, it was a very difficult task to preserve faith in the future in spite of all the ugliness of real, daily impressions, to find the strength, if not for political struggle, then for active work.

The dominant type of that era was the type of personality, known under the bitter name of "superfluous person."

Grigory Aleksandrovich Pechorin entirely belongs to this type, who made it possible for Herzen to call the protagonist of Lermontov's novel "Onegin's younger brother."

Before us is a young man suffering from his restlessness, desperately asking himself questions: “Why did I live? For what purpose was I born? And, it is true, it existed, and, it is true, there was a high assignment for me, because I feel immense strength in my soul ... But I did not guess this assignment. " He does not have the slightest inclination to walk the beaten path of a secular man. As befits a young man, he is an officer, he serves, but does not curry favor at all.

Pechorin is a victim of his difficult time. But does Lermontov justify his actions, his mood? Yes and no. We cannot but condemn Pechorin for his attitude to Bela, to Princess Mary, to Maxim Maksimych, to Vera. But we cannot but sympathize with him when he caustically ridicules the aristocratic "water society", breaks the intrigues of Grushnitsky and his friends. We cannot fail to see that he is head and shoulders above everyone around him, that he is smart, educated, talented, brave, energetic.

We are repulsed by Pechorin's indifference to people, his inability for true love, for friendship, his individualism and egoism.

But Pechorin captivates us with a thirst for life, the ability to critically evaluate our actions, He is deeply unsympathetic to us by the waste of his strength, by those actions with which he brings suffering to other people. But he himself suffers greatly. Therefore, Lermontov often justifies his hero.

Pechorin's character is complex and contradictory. He is guided only by personal desires and aspirations, regardless of the interests of others. “My first pleasure is to subordinate everything that surrounds me to my will,” he says. Bela is ruined, Grushnitsky is killed, Mary's life is broken, Maxim Maksimych is offended. The hero of the novel says about himself: “There are two people in me. One lives in the full sense of the word, the other thinks and judges him. " What are the reasons for this duality? Who is to blame for the death of Pechorin's excellent inclinations? Why did he become a "moral cripple"? Lermontov answers this question with the whole course of the narrative. The society is to blame, the social conditions in which the hero was brought up and lived. “My colorless youth passed in the struggle with myself and the light; my best feelings, fearing ridicule, I buried in the depths of my heart: they died there. I spoke the truth - they did not believe me: I began to deceive; having learned well the light and springs of society, I became skilled in the science of life ... ", - Pechorin admits. He learned to be secretive, vindictive, bilious, ambitious. His soul is "tainted by the light." He is selfish.

But even Pushkin's hero Belinsky called "suffering egoist" and "selfish willfulness." The same can be said about Pechorin. Belinsky wrote about Onegin: "... The forces of this rich naura were left without application, life - without meaning, and the novel - without end." And here is what he wrote about Pechorin: "... there is a difference in the roads, but the result is the same."

Disappointment in secular society is inherent in Pechorin. How caustic are the marks of the characteristics that he gives to the representatives of the aristocratic society who have gathered in Pyatigorsk for the water. These are societies of fake people, rich and titled idlers, all whose interests are reduced to gossip, card games, intrigue, the pursuit of money, awards and entertainment. Among the "Moscow dandies" and fashionable "brilliant adjutants" the figure of Grushnitsky stands out. He is a clear antipode of Pechorin. If Pechorin attracts attention to himself without caring about it at all, then Grushnitsky tries his best to "produce an effect", for which he wears a thick Solat coat. If Pechorin is truly deeply disappointed in life, then Grushnitsky is playing in disappointment. He belongs to those people whose passion is to pose and recite. Such people "draped importantly into extraordinary feelings, lofty passions and exceptional suffering." Pechorin easily guessed Grushnitsky, and he was imbued with mortal hatred for him.

All Grushnitsky's actions are driven by petty pride combined with a weakness of character. That is why the author partly justifies the cruelty shown by Pechorin in the collision with Grushnitsky. However, Lermontov decisively condemns his hero when people worthy of love and respect become victims of his cruelty and selfishness.

Why is Pechorin treating Princess Mary so cruelly? After all, she is so charming! And Pechorin himself distinguished her from the crowd of secular beauties, saying that "this Princess Mary is very pretty ... She has such velvet eyes ..." But Lermontov draws Mary not just as a girl with dreams and feelings, but also as an aristocrat. The princess is proud, arrogant, proud. A hidden struggle begins between an aristocratic girl and a bored wandering officer. Offended Mary is no stranger to secular intrigue. The yearning Pechorin willingly goes towards adventure.

The will and courage of Pechorin won the secret war. His powerful character made an irresistible impression on the princess, who did not so much understand as felt that Pechorin was attractive even in his vices. She fell in love with him, but did not understand his contradictory soul.

Pechorin is more than anything else afraid of losing his freedom and independence. “I’m ready for all sacrifices except this one,” he says.

The sad story of Vera, the only woman whom Pechorin truly loved. His love brought her a lot of grief and suffering. In her farewell letter, Vera says this: “You loved me as property, as a source of joy ...” We read with sincere sadness about Pechorin's last meeting with Maxim Maksimych. with a friend, and he with coldness and indifference extended his hand to him. They parted dryly and forever.

The voice of the heart, the voice of an irresistible human need for love, friendship, kindness, for the happiness of giving oneself to others was not heard by Pechorin, and this voice is the voice of truth. It was she who remained closed for Pechorin. But, despite this, Pechorin amazes with strength of mind and power of will. His dignity consists precisely in this undivided fullness of responsibility for his actions. In this Pechorin is a man worthy to be called a man. It is these qualities that cause a positive attitude to the main character of Lermontov's novel.