Bunin's lyrics: main themes and motives. Themes and ideological and artistic originality of I’s creativity

Ivan Alekseevich Bunin was born on October 22, 1870 in Voronezh into a noble family. He spent his childhood and youth on an impoverished estate in the Oryol province. Systematic education future writer I didn’t get it, which I regretted all my life. True, the elder brother Yuli, who graduated from the university with flying colors, went through the entire gymnasium course with Vanya. They studied languages, psychology, philosophy, social and natural sciences. It was Julius who provided great influence on the formation of Bunin’s tastes and views.

Bunin began writing early. Wrote essays, sketches, poems. In May 1887, the magazine "Rodina" published the poem "Beggar" by sixteen-year-old Vanya Bunin. From that time on, his more or less constant literary activity, in which there was room for both poetry and prose.

Outwardly, Bunin's poems looked traditional both in form and in theme: nature, joy of life, love, loneliness, sadness of loss and new rebirth. And yet, despite the imitation, there was some special intonation in Bunin’s poems. This became more noticeable with the release of the poetry collection “Falling Leaves” in 1901, which was enthusiastically received by both readers and critics.

Bunin wrote poetry until the end of his life, loving poetry with all his soul, admiring it musical structure and harmony. But already at the beginning creative path a prose writer became more and more clearly evident in him, and so strong and deep that Bunin’s first stories immediately earned recognition from the famous writers of that time: Chekhov, Gorky, Andreev, Kuprin.

In 1898, Bunin married a Greek woman, Anna Tsakni, having previously experienced a strong love and subsequent strong disappointment with Varvara Pashchenko. However, by Ivan Alekseevich’s own admission, he never loved Tsakni.

In the 1910s, Bunin traveled a lot, going abroad. He visits Leo Tolstoy, meets Chekhov, actively collaborates with the Gorky publishing house "Znanie", and meets the niece of the Chairman of the First Duma A.S. Muromtsev, Vera Muromtseva. And although Vera Nikolaevna actually became “Mrs. Bunina” already in 1906, they were able to officially register their marriage only in July 1922 in France. Only by this time did Bunin manage to obtain a divorce from Anna Tsakni.

Vera Nikolaevna was devoted to Ivan Alekseevich until the end of his life, becoming his faithful assistant in all matters. Possessing great spiritual strength, helping to steadfastly endure all the hardships and hardships of emigration, Vera Nikolaevna also had a great gift of patience and forgiveness, which was important when communicating with such a difficult and unpredictable person as Bunin was.

After the resounding success of his stories, the story "The Village" appeared in print, becoming immediately famous - Bunin's first major work. It's bitter and very bold piece, in which the half-crazed Russian reality with all its contrasts, instability, and broken destinies appeared before the reader. Bunin, perhaps one of the few Russian writers of that time, was not afraid to tell the unpleasant truth about the Russian village and the downtroddenness of the Russian peasant.

“The Village” and the “Sukhodol” that followed it determined Bunin’s attitude towards his heroes - the weak, the disadvantaged and the restless. But hence comes sympathy for them, pity, a desire to understand what is happening in the suffering Russian soul.

In parallel with the rural theme, the writer developed in his stories the lyrical theme, which had previously appeared in poetry. Appeared female characters, although barely outlined - the charming, airy Olya Meshcherskaya (story " Easy breathing"), ingenuous Klasha Smirnova (story "Klasha"). Later female types with all their lyrical passion will appear in Bunin’s emigrant stories and stories - “Ida”, “Mitya’s Love”, “The Case of the Cornet Elagin” and, of course, in his famous cycle " Dark alleys".

IN pre-revolutionary Russia Bunin, as they say, “rested on his laurels” - he was awarded three times Pushkin Prize; in 1909 he was elected academician for the category belles lettres, becoming the youngest academician of the Russian Academy.

In 1920, Bunin and Vera Nikolaevna, who did not accept either the revolution or the Bolshevik power, emigrated from Russia, “having drunk the untold cup of mental suffering,” as Bunin later wrote in his biography. On March 28 they arrived in Paris.

TO literary creativity Ivan Alekseevich returned slowly. Longing for Russia and uncertainty about the future depressed him. Therefore, the first collection of stories, "Scream", published abroad, consisted only of stories written in Bunin's happiest time - in 1911-1912.

And yet the writer gradually overcame the feeling of oppression. In the story “Rose of Jericho” there are such heartfelt words: “There is no separation and loss as long as my soul, my Love, Memory lives! living water hearts, in the pure moisture of love, sadness and tenderness I immerse the roots and stems of my past..."

In the mid-1920s, the Bunins moved to the small resort town of Grasse in the south of France, where they settled in the Belvedere villa, and later settled in the Janet villa. This is where they were destined to live. most of of your life, to survive the Second world war. In 1927, in Grasse, Bunin met the Russian poetess Galina Kuznetsova, who was vacationing there with her husband. Bunin was fascinated by the young woman, and she, in turn, was delighted with him (and Bunin knew how to charm women!). Their romance received wide publicity. The insulted husband left, Vera Nikolaevna suffered from jealousy. And here the incredible happened - Ivan Alekseevich managed to convince Vera Nikolaevna that his relationship with Galina was purely platonic, and they had nothing more than a relationship between a teacher and a student. Vera Nikolaevna, incredible as it may seem, believed. She believed it because she couldn’t imagine her life without Ian. As a result, Galina was invited to live with the Bunins and become “a member of the family.”

For almost fifteen years Kuznetsova shared shelter with Bunin, playing the role adopted daughter and experiencing with them all the joys, troubles and hardships.

This love of Ivan Alekseevich was both happy and painfully difficult. She also turned out to be immensely dramatic. In 1942, Kuznetsova left Bunin, carried away opera singer Margo Stepun.

Ivan Alekseevich was shocked, he was depressed not only by the betrayal of his beloved woman, but also by whom she cheated with! “How she (G.) poisoned my life - she’s still poisoning me! 15 years! Weakness, lack of will...” he wrote in his diary on April 18, 1942. This friendship between Galina and Margot was like a bleeding wound for Bunin for the rest of his life.

But despite all the adversities and endless hardships, Bunin’s prose gained new heights. The books “Rose of Jericho”, “Mitya’s Love”, collections of stories “Sunstroke” and “Tree of God” were published abroad. And in 1930, the autobiographical novel “The Life of Arsenyev” was published - a fusion of memoirs, memoirs and lyrical-philosophical prose.

On November 10, 1933, newspapers in Paris came out with huge headlines “Bunin - Nobel laureate". For the first time since the existence of this prize, the award for literature was presented to a Russian writer. Bunin's all-Russian fame grew into worldwide fame.

Every Russian in Paris, even those who had not read a single line of Bunin, took this as a personal holiday. The Russian people experienced the sweetest of feelings - a noble sense of national pride.

Award Nobel Prize became a huge event for the writer himself. Recognition came, and with it (albeit at a very short period, The Bunins were extremely impractical) material security.

In 1937, Bunin finished the book “The Liberation of Tolstoy,” which, according to experts, became one of best books in all literature about Lev Nikolaevich. And in 1943, “Dark Alleys” was published in New York - the pinnacle of the writer’s lyrical prose, a true encyclopedia of love. In “Dark Alleys” you can find everything - sublime experiences, conflicting feelings, and violent passions. But what was closest to Bunin was pure, bright love, similar to the harmony of earth and sky. In “Dark Alleys” it is, as a rule, short, and sometimes instantaneous, but its light illuminates the hero’s entire life.

Some critics of that time accused Bunin's "Dark Alleys" of either pornography or senile sensuality. Ivan Alekseevich was offended by this: “I consider “Dark Alleys” the best thing I wrote, and they, idiots, think that I disgraced my gray hairs with them... The Pharisees do not understand that this is a new word, new approach to life,” he complained to I. Odoevtseva.

Until the end of his life he had to defend his favorite book from the “Pharisees.” In 1952, he wrote to F.A. Stepun, the author of one of the reviews of Bunin's works: “It’s a pity that you wrote that in “Dark Alleys” there is some excess of consideration of female charms... What an “excess” there! I gave only a thousandth part of how men of all tribes and peoples “examine” women everywhere, always with your tenth birthday and up to the age of 90.”

The writer devoted the last years of his life to working on a book about Chekhov. Unfortunately, this work remained unfinished.

Your last diary entry Ivan Alekseevich made on May 2, 1953. “This is still amazing to the point of tetanus! In some, very short time, I will be gone - and the affairs and fate of everything, everything will be unknown to me!”

At two o'clock in the morning from November 7 to 8, 1953, Ivan Alekseevich Bunin died quietly. The funeral service was solemn - in the Russian church on Daru Street in Paris with a large crowd of people. All newspapers - both Russian and French - published extensive obituaries.

And the funeral itself took place much later, on January 30, 1954 (before that, the ashes were in a temporary crypt). Ivan Alekseevich was buried in the Russian cemetery of Saint-Genevieve des Bois near Paris. Next to Bunin, seven and a half years later, his faithful and selfless life partner, Vera Nikolaevna Bunina, found her peace.

Ivan Alekseevich Bunin (1870-1953) is called “ the last classic" Bunin's reflections on the deep processes of life result in perfect art form, where the originality of the composition, images, details are subordinated to the author’s intense thought.

In his stories, novellas, and poems, Bunin shows us the whole range of problems late XIX- beginning of the 20th century. The themes of his works are so diverse that they seem to be life itself. Let's trace how the themes and problems of Bunin's stories changed throughout his life.

A) Main topic the early 1900s - the theme of Russia's fading patriarchal past. The most vivid expression of the problem of a change of system, the collapse of all foundations noble society we see in the story “Antonov Apples”. Bunin regrets Russia's fading past, idealizing the noble way of life. Bunin’s best memories of his former life are saturated with the smell of Antonov apples. He hopes that together with the dying noble Russia The roots of the nation will still remain in its memory.
b) In the mid-1910s, the themes and problems of Bunin's stories began to change. He moves away from the theme of Russia's patriarchal past to a critique of bourgeois reality. A striking example This period is his story "Mr. from San Francisco." With the smallest details, mentioning every detail, Bunin describes the luxury that is true life gentlemen of the new time. At the center of the work is the image of a millionaire who does not even have his own name, since no one remembered it - and does he even need one? This collective image American bourgeois. “Until the age of 58, his life was devoted to accumulation. Having become a millionaire, he wants to get all the pleasures that money can buy: ... he thought of holding the carnival in Nice, in Monte Carlo, where at this time the most selective society flocks, where some enthusiastically indulge in automobile and sailing races, others roulette, others to what is commonly called flirting, and fourth to shooting pigeons, which soar very beautifully from cages over the emerald lawn, against the backdrop of a sea the color of forget-me-nots, and immediately hit the ground with white lumps...” - this is a life deprived internal content. The consumer society has erased everything human in itself, the ability for empathy and condolences. The death of the gentleman from San Francisco is perceived with displeasure, because “the evening was irreparably ruined,” the hotel owner feels guilty, and gives his word that he will take “all measures in his power” to eliminate the trouble. Money decides everything: guests want to have fun for their money, the owner does not want to lose profit, this explains the disrespect for death. Such is the moral decline of society, its inhumanity in its extreme manifestation.
c) There are a lot of allegories, associations and symbols in this story. The ship "Atlantis" acts as a symbol of civilization; The gentleman himself is a symbol of the bourgeois well-being of a society where people eat deliciously, dress elegantly and do not care about the world around them. They are not interested in him. They live in society as if in a case, closed forever to people of another circle. The ship symbolizes this shell, the sea symbolizes the rest of the world, raging, but in no way touching the hero and others like him. And next to it, in the same shell, are the people who control the ship, working hard at the gigantic firebox, which the author calls the ninth circle of hell.

There are many biblical allegories in this story. The hold of a ship can be compared to the underworld. The author hints that the gentleman from San Francisco sold his soul for earthly goods and is now paying for it with death.

Symbolic in the story is the image of a huge, rock-like devil, who is a symbol of the impending catastrophe, a kind of warning to humanity. It is also symbolic in the story that after the death of the rich man, the fun continues, absolutely nothing has changed. The ship sails in the opposite direction, only this time with the rich man’s body in a soda box, and ballroom music thunders again “among the mad blizzard sweeping over the ocean that was buzzing like a funeral mass.”

d) It was important for the author to emphasize the idea of the insignificance of human power in the face of the same mortal outcome for everyone. It turned out that everything accumulated by the master has no meaning before that eternal law to which everyone, without exception, is subject. Obviously, the meaning of life is not in acquiring wealth, but in something else that cannot be assessed monetaryly or aesthetic wisdom. The theme of death receives varied coverage in Bunin's works. This is both the death of Russia and the death of an individual. Death turns out to be not only the resolver of all contradictions, but also the source of absolute, purifying power (“Transfiguration”, “Mitya’s Love”).

Another of the main themes of the writer’s work is the theme of love. The cycle of stories “Dark Alleys” is devoted to this topic. Bunin considered this book the most perfect in artistic skill. “All the stories in this book are only about love, about its “dark” and most often very gloomy and cruel alleys,” wrote Bunin. The collection “Dark Alleys” is one of latest masterpieces great master.

In the literature of Russian diaspora, Bunin is a star of the first magnitude. After being awarded the Nobel Prize in 1933, Bunin became a symbol of Russian literature throughout the world.

Philosophical issues works of Bunin, the last Russian and classic and, as Maxim Gorky called him, “the first master modern literature", covers a wide range of issues that remain relevant in our difficult, disharmonious times.

The disintegration of the peasant world

Changes in household and moral life peasants and the sad consequences of such metamorphoses are shown in the story “The Village”. The heroes of this work are the fist Tikhon and the poor self-taught poet Kuzma. The philosophical problematics of Bunin's works are expressed by the perception of two opposing images. The action takes place at the beginning of the century, when the hungry and poor village life under the influence of revolutionary ideas it comes to life for a while, but then again plunges into deep hibernation.

The writer was acutely concerned about the inability of the peasants to resist the devastation of their native villages, their fragmentation. Their main misfortune, he believed, was their lack of independence, which he admits main character works: “I don’t know how to think, I’m not scientific.” And this shortcoming, Ivan Bunin believed, was a consequence of long serfdom.

The fate of the Russian people

The philosophical problematics of Bunin's works resulted in bitter discussions about the fate of the Russian people. As a native of noble family he's always been attracted to psychological analysis common man. Origins national character, its positive and negative traits he searched in the history of the Russian people. For him there was no significant difference between a peasant and a landowner. And, although the nobles were the true bearers high culture, the role of peasants in the formation of the original Russian spiritual world the writer always gave credit where credit was due.

Love and loneliness

Ivan Bunin is an unsurpassed lyricist. Stories written in exile are almost poetic works. Love for this writer was not something lasting. It was always interrupted either by the will of one of the heroes, or under the influence evil rock. But people experience separation and loneliness most acutely abroad. The philosophical issues of Bunin's works are also the feelings of a Russian person in exile. In the story “In Paris,” the author tells of a chance meeting of two lonely people in the distance. Both of them are far from Russia. At first, they are brought together by Russian speech and spiritual kinship. Acquaintance develops into love. And when main character suddenly dies, a woman, returning to an empty house, experiences a feeling of loss and spiritual emptiness, which she can hardly fill in a foreign country, far from her native land.

The topics that the classic of Russian literature touched upon in his works relate to issues that are relevant today. For the modern reader The philosophical problems of Bunin's works are close. An essay on a topic related to the work of this writer helps to develop inner world schoolchildren, teaches them to think independently and forms moral thinking.

The meaning of life

One of the troubles modern society is his immorality. It appears unnoticed, grows and at some point begins to give rise to terrifying consequences. Both individuals and society as a whole suffer from them. Therefore, in literature lessons, considerable attention is paid to such a topic as the philosophical problems of Bunin’s works. An essay based on the story “The Man from San Francisco” teaches children to understand the importance of spiritual values.

Today so much is given to material goods great importance, What modern children, sometimes, they have no idea about the existence of other values. The philosophy of a faceless man who has been increasing his wealth for so long and persistently that he has forgotten how to see the world as it is, and as a result - a tragic and pitiful end. This is the main idea of the story about a rich gentleman from San Francisco. Artistic analysis This work allows teenagers to take a different look at the ideas that reign in the minds of many people today. People who pathologically strive for success and material prosperity and, unfortunately, often serve as an example for a fragile personality.

Reading works of Russian literature contributes to the formation of correct moral position. An essay on the topic “Philosophical problems of Bunin’s work “The Man from San Francisco”” helps to answer, perhaps, the most pressing questions.

The past century has given Russian culture a galaxy brilliant artists. Their work has become the property of world literature. Moral Foundations the works of these authors will never become morally obsolete. The philosophical problematics of the works of Bunin and Kuprin, Pasternak and Bulgakov, Astafiev and Solzhenitsyn are the property of Russian culture. Their books are intended not so much for entertaining reading as for the formation of a correct worldview and the destruction of false stereotypes. After all, no one spoke so accurately and truthfully about such important philosophical categories as love, loyalty and honesty, like the classics of great Russian literature.

RESPONSE PLAN

1. A word about the writer’s work.

2. The main themes and ideas of I. A. Bunin’s prose:

a) the theme of the passing patriarchal past (“Antonov Apples”);

b) criticism of bourgeois reality (“Mr. from San Francisco”);

c) the system of symbols in I. A. Bunin’s story “The Gentleman from San Francisco”;

d) the theme of love and death (“Mr. from San Francisco”, “Transfiguration”, “Mitya’s Love”, “Dark Alleys”).

3. I. A. Bunin - Nobel Prize laureate.

1. Ivan Alekseevich Bunin (1870-1953) is called “the last classic.” Bunin's reflections on the deep processes of life result in a perfect artistic form, where the originality of the composition, images, and details are subordinated to the intense author's thought.

2. In his stories, novellas, and poems, Bunin shows us the whole range of problems of the late 19th - early 20th centuries. The themes of his works are so diverse that they seem to be life itself. Let's trace how the themes and problems of Bunin's stories changed throughout his life.

a) The main theme of the early 1900s is the theme of the passing patriarchal past of Russia. We see the most vivid expression of the problem of a change of system, the collapse of all the foundations of noble society in the story “Antonov Apples”. Bunin regrets Russia's fading past, idealizing the noble way of life. Bunin’s best memories of his former life are saturated with the smell of Antonov apples. He hopes that, along with the dying out of noble Russia, the roots of the nation will still be preserved in its memory.

b) In the mid-1910s, the themes and problems of Bunin's stories began to change. He moves away from the theme of Russia's patriarchal past to a critique of bourgeois reality. A striking example of this period is his story "The Master from San Francisco." With the smallest detail, mentioning every detail, Bunin describes the luxury that represents the true life of the gentlemen of modern times. At the center of the work is the image of a millionaire who doesn’t even have his own name, since no one remembered it - and does he even need it? This is a collective image of the American bourgeoisie. “Until the age of 58, his life was devoted to accumulation. Having become a millionaire, he wants to get all the pleasures that money can buy: ... he thought of holding the carnival in Nice, in Monte Carlo, where at this time the most selective society flocks, where some enthusiastically indulge in automobile and sailing races, others roulette, others to what is commonly called flirting, and fourth to shooting pigeons, which soar very beautifully from cages over the emerald lawn, against the backdrop of a sea the color of forget-me-nots, and immediately hit the ground with white lumps...” - this is a life devoid of internal content . The consumer society has erased everything human in itself, the ability for empathy and condolences. The death of the gentleman from San Francisco is perceived with displeasure, because “the evening was irreparably ruined,” the hotel owner feels guilty, and gives his word that he will take “all measures in his power” to eliminate the trouble. Money decides everything: guests want to have fun for their money, the owner does not want to lose profit, this explains the disrespect for death. Such is the moral decline of society, its inhumanity in its extreme manifestation.

c) There are a lot of allegories, associations and symbols in this story. The ship "Atlantis" acts as a symbol of civilization; The gentleman himself is a symbol of the bourgeois well-being of a society where people eat deliciously, dress elegantly and do not care about the world around them. They are not interested in him. They live in society as if in a case, closed forever to people of another circle. The ship symbolizes this shell, the sea symbolizes the rest of the world, raging, but in no way touching the hero and others like him. And nearby, in the same shell, are the people who control the ship, working hard at the gigantic firebox, which the author calls the ninth circle of hell.

3. In the literature of Russian abroad, Bunin is a star of the first magnitude. After being awarded the Nobel Prize in 1933, Bunin became a symbol of Russian literature throughout the world.

ADDITIONAL QUESTIONS

1. Which scene is the culmination of I. A. Bunin’s story “The Gentleman from San Francisco”?

2. What is symbolic of the image of the gentleman from San Francisco - a man without a name, without history, without purpose?

64. Theme of love in prose I.A. Bunina . (Using one story as an example.) (Ticket 1)

Russian literature was distinguished by its extraordinary chastity. Love in the minds of Russian people and Russian writers is primarily a spiritual feeling.
Bunin in Sunstroke fundamentally rethinks this tradition. For him, the feeling that suddenly arises between random fellow travelers on a ship turns out to be as priceless as love. Moreover, love is precisely this intoxicating, selfless, suddenly arising feeling, evocative with sunstroke.
Bunin's interpretation of the theme of love is connected with his idea of Eros as a powerful elemental force - the main form of manifestation of cosmic life. It is tragic at its core. Because it turns a person over and dramatically changes the course of his life. Much in this regard brings Bunin closer to Tyutchev.
In love, Bunin's heroes are raised above time, situation, circumstances. What do we know about the heroes of Sunstroke? No name, no age. Only that he is a lieutenant, that he has “an ordinary officer’s face, gray from a tan, with a whitish, sun-bleached mustache and bluish white eyes.” And she was on vacation in Anapa and is now going to her husband and three-year-old daughter, she has a lovely laugh and is dressed in a light canvas dress.
We can say that the entire story “Sunstroke” is devoted to describing the experience of the lieutenant who lost his accidental lover. This plunge into darkness, almost “mindlessness,” occurs against the backdrop of an unbearably stuffy sunny day. All descriptions are literally saturated with burning sensations. This sunshine should remind readers of what befell the heroes of the story “ sunstroke" This is at the same time immense happiness, but it is also a blow, a loss of reason. Therefore, at first the epithet “sunny” is adjacent to the epithet “happy”, then later the “aimless sun” appears in the story.
The writer depicts that terrible feeling of loneliness, rejection from other people, which the lieutenant experienced, pierced by love.
The story has a ring composition. At the very beginning, you can hear the impact of a landing steamer hitting the pier, and at the end you can hear the same sounds. A day passed between them. But in the minds of the hero and the author, they are separated from each other by at least ten years (this figure is repeated twice in the story), but in fact by eternity. Now a different person is traveling on the ship, having comprehended some of the most important things on earth, having become familiar with its secrets.

Eternal themes in Bunin's works. The previous, mainly “village” stories and stories “in fact turned out to be more durable than his works devoted to the actual “eternal” themes - love, death.

This side of his creativity, which received primary development in emigrant period, does not constitute in it what belongs exclusively to Bunin in literature.” Bunin lived long life. He saw victory Soviet Union over Germany in 1945, was happy for his fatherland and spoke loudly about it in print. He read books with interest Soviet writers, admired Tvardovsky’s “Vasily Terkin.”

The writer intended to return to his homeland, but it was too late to do this. In 1953, Bunin died in Paris. But he returned to us with his books, found a grateful reader who fully realized Bunin’s place in Russian artistic culture twentieth century. What caused the attention of contemporaries to Bunin and what currently supports active interest in his books? First of all, the versatility of the great artist’s work attracts attention.

Each reader finds motifs close to his own in his work. There is something in Bunin’s books that is spiritually dear to everyone developed people at all times. In the future they will find their way to readers who are not deaf to the beautiful, to the moral, who are capable of rejoicing in the universe and compassion for the unfortunate. Bunin, as we already know, entered literature as a poet.

The first poems were not original in their figurative structure; they basically repeated the themes and intonations of Pushkin, Lermontov, Tyutchev, and partly Nekrasov. But already in his youthful works there were motifs that would largely determine the meaning of later mature creativity Bunina. One of them is Pushkinsky. Here, of course, there is no direct orientation towards Pushkin, but there is an unconscious thirst for what can be called Pushkin’s harmony. What does it consist of? We will find the answer in almost every Pushkin’s creation, especially clearly in “Belkin’s Tales” and “Little Tragedies”. Great poet saw a moral divide in human natures: some people are natural, spontaneous, others are unnatural, prefer an artificial, false form of being.

Some people care, others don't care about beauty, true purpose person. The former are personified by Pushkin by Mozart, the latter by Salieri. The tragedy gives rise to the thought: the death of a genius at the hands of a craftsman is a consequence of the fragmentation of the world, where spiritual union is difficult to achieve.

But ideally, according to Pushkin, it is possible - as long as the world is organized according to Mozart, and not according to Salieri. This is obviously how young Bunin felt life. Pushkin's antithesis - bright sincerity and disastrous falsehood - receives from him a concrete social characteristics. He also talks about nature as the center of the desired harmony. Animation of nature is a favorite technique in Bunin’s lyrics. In the naturalness of being, according to Bunin, the source of the main values human existence: peace, cheerfulness, joy.

The humanization of nature (anthropomorphism), which has long arisen in world literature, including Russian poetry, is repeated persistently by Bunin, enriched with new metaphors. The Tyutchev-like poetry of the thunderstorm as a symbol of the renewal of the world is directly projected onto human life: she is not good without work and struggle for happiness (“Don’t frighten me with a thunderstorm”). But Tyutchev’s theme is not repeated, but takes on an unexpected, new turn. The poet hears in spring thunderstorm not only thunder, but also silence: “How mysterious you are, thunderstorm! How I love your silence” (“The fields smell…”). Bunin is an observant lyricist, subtly noticing the ambiguity of phenomena. 3.

End of work -

This topic belongs to the section:

Study of the work of Ivan Bunin

Yes, Bunin does not have a single poem or story that could be included in the circle children's reading, - he’s too much of an “adult” writer. But when... The great writers, whose younger contemporary was Bunin, unanimously admitted... He spent his childhood on a farm in the Oryol province.

If you need additional material on this topic, or you did not find what you were looking for, we recommend using the search in our database of works:

What will we do with the received material:

If this material was useful to you, you can save it to your page in social networks:

The main themes in the works of Ivan Alekseevich Bunin - eternal themes: nature, love, death

Bunin belongs to to the last generation writers from noble estate, which is closely related to the nature of the central zone of Russia. “Few people can know and love nature like Ivan Bunin can,” wrote Alexander Blok in 1907. It was not for nothing that the Pushkin Prize was awarded to Bunin in 1903 for his collection of poems “Falling Leaves,” glorifying Russian rural nature. In his poems, the poet connected the sadness of the Russian landscape with Russian life into one inseparable whole. “Against the background of a golden iconostasis, in the fire of falling leaves, gilded by sunset, stands an abandoned estate.” Autumn - the “quiet widow” - is in unusual harmony with empty estates and abandoned farmsteads. “The native silence torments me, the nests of my native desolation torment me.” Bunin’s stories, which are similar to poetry, are also imbued with this sad poetry of withering, dying, desolation. Here is the beginning of his famous story “Antonov Apples”: “I remember an early, fresh, quiet morning... I remember a large, all golden, dried up and thinning garden, I remember maple alleys, the subtle aroma of fallen leaves and the smell of Antonov apples, the smell of honey and autumn flowers.” freshness..." And this smell of Antonov apples accompanies him in all his wanderings and in the capitals of the world as a memory of his Motherland: "But in the evenings,” writes Bunin, “I read old poets, relatives to me in everyday life and in many of my moods, finally , just by locality - central Russia, and my desk drawers are full. Antonov apples, and the healthy autumn aroma takes me to the countryside, to the estates of the landowners."

Along with the degeneration of the noble nests, the village is also degenerating. In the story "The Village" he describes the courtyard of a rich peasant family and sees "darkness and dirt" - both in physical, mental, and moral life." Bunin writes: "An old man lies there, dying. He is still alive - and already in Sentsy the coffin has been prepared, pies are already being baked for the funeral. And suddenly the old man gets better. Where was the coffin to go? How to justify spending? Lukyan was then cursed for five years for them, lived with reproaches from the world, and starved to death." And here is how Bunin describes the level of political consciousness of the peasants:

Do you know why the court came?

Judge the deputy... They say he wanted to poison the river.

Deputy? Fool, is this really what deputies do?

And the plague knows them...

Bunin’s point of view on the people is polemically pointed against those lovers of the people who idealized the people and flattered them. The dying Russian village is framed by a dull Russian landscape: “White grain rushed askance, falling on a black, poor village, on bumpy, dirty roads, on horse manure, ice and water; the twilight fog hid endless fields, all this great desert with its snows, forests, villages and cities - the kingdom of hunger and death..."

The theme of death will receive varied coverage in Bunin’s work. This is both the death of Russia and the death of an individual. Death turns out to be not only the resolver of all contradictions, but also the source of absolute, purifying power (“Transfiguration”, “Mitya’s Love”).

Bunin’s story “The Gentleman from San Francisco” was understood more deeply by Alexander Tvardovsky: “In the face of love and death, according to Bunin, the social, class, and property lines that separate people are erased by themselves - everyone is equal before them.” Averky from “The Thin Grass” dies in the corner of his poor hut: a nameless gentleman from San Francisco dies having just gotten ready to have a good lunch in the restaurant of a first-class hotel on the warm sea coast. But death is equally terrible in its inevitability when this most famous of Bunin’s stories is interpreted only in the sense of exposure. capitalism and the symbolic harbinger of its death, then they seem to lose sight of the fact that for the author it is much more important to think about the susceptibility of a millionaire to a common end, about the insignificance and ephemeral nature of his power in the face of a mortal outcome that is the same for everyone.”

Death, as it were, allows one to see a person’s life in its true light. Before physical death, the gentleman from San Francisco suffered spiritual death.

“Until the age of 58, his life was devoted to accumulation. Having become a millionaire, he wants to get all the pleasures that money can buy: ... he thought of holding the carnival in Nice, in Monte Carlo, where at this time the most selective society flocks, where Some enthusiastically indulge in car and sailing races, others in roulette, others in what is commonly called flirting, and still others in shooting pigeons, which soar very beautifully from cages over the emerald lawn, against the backdrop of a sea the color of forget-me-nots, and immediately knock white lumps on earth...1 - this is not life, it is a form of life, devoid of internal content. The consumer society has eradicated from itself all the human capacity for Sympathy and condolences. The death of the gentleman from San Francisco is perceived with displeasure, because “the evening was irreparably ruined,” master. the hotel feels guilty, he gives his word that he will take “all measures in his power” to eliminate the trouble. Money decides everything: guests want to have fun for their money, the owner does not want to lose profit, this explains the disrespect for death, and therefore, moral decline of society, dehumanization in its extreme manifestation.

The deadness of bourgeois society is symbolized by “a thin and flexible pair of hired lovers: a sinfully modest girl with drooping eyelashes, with an innocent hairstyle, and a tall young man with black hair, as if glued on, pale with powder, in the most elegant patent leather shoes, in narrow, long coattails, tailcoat - a handsome man, looking like a huge leech." And no one knew how tired this couple was of pretending to be in love. And what stands underneath them, at the bottom of the dark hold. No one thinks about the futility of life in the face of death.

Many of I.A. Bunin’s works and the entire cycle of stories “Dark Alleys” are devoted to the theme of love. “All the stories in this book are only about love, about its “dark” and most often very gloomy and cruel alleys,” Bunin wrote in one of his letters. Bunin himself considered this book the most perfect in craftsmanship. Bunin sang not platonic, but sensual love, surrounded by a romantic halo. Love, in Bunin’s understanding, is contraindicated in everyday life, any duration, even in a desired marriage; it is an insight, a “sunstroke”, often leading to death. He describes love in all its states, where it barely dawns and will never come true ("Old Port"), and where it languishes unrecognized ("Ida"), and where it turns into passion ("The Killer"). Love captures all thoughts, all spiritual and physical potentials of a person - but this state cannot last long. So that love does not fizzle out, does not exhaust itself, it is necessary to separate - and forever. If the heroes themselves do not do this, then rock and fate intervene in their lives: one of the lovers dies. The story "Mitya's Love" ends with the hero's suicide. Death here is interpreted as the only possibility of liberation from love.

Similar abstracts:

The main property of I. Bunin’s personality and his artistic gift cannot, perhaps, be called anything other than a heightened sense of the world, the most subtle and with the keenest feeling life. Bunin had some kind of original love for the land.

In many of his works, I. A. Bunin strives for broad artistic generalizations. He analyzes the universal human essence of love and discusses the mystery of life and death.

Ivan Alekseevich Bunin - writer of fine psychological characteristics who knows how to sculpt a character in detail or environment. With a simple plot, one is struck by the wealth of thoughts, images and symbolism that are inherent in the artist.

Ivan Alekseevich Bunin - one of the largest representatives critical realism twentieth century. He entered literature at the end of the last century, during difficult and difficult years social and spiritual crisis Russian society.

Analysis of the lyric poem "Evening".

The story “The Village,” published in 1910, caused great controversy and was the beginning of Bunin’s enormous popularity.

Bunin's works are very rich various forms allegorical expressiveness. The writer uses symbolism everywhere: both in the titles of the stories and in their plots.

Bunin belongs to the last generation of writers from a noble estate, which is closely connected with the nature of central Russia. “Few people can know and love nature as I. A. Bunin can,” wrote Alexander Blok in 1907.

The story takes place on a large passenger ship traveling from America to Europe. And during this journey, the main character of the story, an elderly gentleman from San Francisco, dies. It would seem like an ordinary thing, nothing special. What attracted the author to this story?

Bunin’s story “Mr. from San Francisco” has a highly social focus, but the meaning of these stories is not limited to criticism of capitalism and colonialism.