What did Bunin create in Russian literature. The last years of Ivan Bunin's life

A feature of Bunin's work is the ability to find its zest in the most ordinary everyday scenes, something that we have passed by repeatedly. The author, using the most diverse techniques, through soft strokes and details, but nonetheless clearly and vividly, brings his impressions to us. Reading the works, we seem to feel, feel the objects described by the author.

In many stories, Bunin does not name the main characters. He captivates us by other means than external entertainment, the "mysteriousness" of the situation, the deliberate exclusivity of the characters. Bunin suddenly draws our attention to something that is, as it were, quite ordinary, accessible to the everyday course of our life, past which we have passed so many times without stopping and being surprised, and we would never have noted for ourselves without prompting.

In terms of colors, sounds and smells, “everything that, in Bunin’s words, is sensual, material, from which the world is created”, previous and contemporary literature did not touch such, as his, the finest and most striking details, details, shades.

Another feature of Bunin is also interesting: the storyline. Very often we become witnesses of the denouement at the very beginning of his work " Easy breath» . Often only a few words hint to the reader about this, but this is already enough. This technique allows you to better understand the problems raised in his works. The understatement of the plot attracts the reader with the opportunity to bring the story to its logical end himself.

Bunin, like other writers, could not get past such eternal problems. human being like the problem of love, the problem of the meaning of life. Much attention is paid to the beauty of Russian nature, which strong impact on the sensitive nature of Bunin.

The problem of the meaning of life, the purpose of life is raised in many works. Most of Bunin's heroes, even despite the seeming ease, well-being, have to think about their existence. But very often this thought is terrible, and not many are able to adequately accept it. In many works, the theme of the meaning of life is closely intertwined with the theme of love, which is especially carefully studied by the author. Perhaps love is the purpose of all life.

Among other themes of Bunin's work, a socio-philosophical theme stands out. For example, in the story "The Gentleman from San Francisco", the author widely opposes "mechanical", thoughtless people who devoted their whole lives to the pursuit of the golden calf, for false values. The author encourages people to remember that they are people.

It is possible to consider only a few features of Bunin's work, a few features of the huge creative heritage left to us by the author, but it is impossible to know all the work of such an author.

1. Childhood and youth. First publications.
2. Family life and work of Bunin.
3. Emigrant period. Nobel Prize.
4. The value of Bunin's work in literature.

How can we forget the Motherland?

Can a person forget his homeland?

She is in the soul. I am a very Russian person.

It doesn't disappear over the years.
I. A. Bunin

I. A. Bunin was born in Voronezh on October 10, 1870. Bunin's father Alexei Nikolaevich, a landowner in the Oryol and Tula provinces, a participant in the Crimean War, went bankrupt because of his love for cards. The impoverished nobles of the Bunins had such ancestors as the poetess A.P. Bunina and the father of V.A. Zhukovsky - A.I. Bunin. At the age of three, the boy was transferred to the estate on the Butyrki farm in the Yelets district of the Oryol province, his childhood memories are closely connected with him.

From 1881 to 1886, Bunin studied at the Yelets Gymnasium, from where he was expelled for failing to appear from the holidays. He did not finish the gymnasium, having received an education at home under the guidance of his brother Julius. Already at the age of seven he wrote poetry, imitating Pushkin and Lermontov. In 1887, his poem "Above Nadson's Grave" was first published in the Rodina newspaper, and his critical articles began to be published. Elder brother Julius became his best friend, mentor in study and life.

In 1889, Bunin moved to his brother in Kharkov, associated with the populist movement. Being carried away by this movement himself, Ivan soon departs from the populists and returns to Orel. He does not share the radical views of Julius. Works in the "Orlovsky Bulletin", lives in a civil marriage with V. V. Pashchenko. Bunin's first book of poems appeared in 1891. These were poems saturated with passion for Pashchenko - Bunin experienced his unhappy love. At first, Varvara's father forbade them to marry, then Bunin had to learn many disappointments in family life, to be convinced of the complete dissimilarity of their characters. Soon he settled in Poltava with Julius, in 1894 he parted with Pashchenko. There comes a period of creative maturity of the writer. Bunin's stories are published in leading magazines. He corresponds with A.P. Chekhov, is fond of the moral and religious preaching of L.N. Tolstoy, and even meets with the writer, trying to live according to his advice.

In 1896, a translation of the "Song of Hiawatha" by H. W. Longfellow was published, which was highly appreciated by contemporaries (Bunin received the Pushkin Prize of the first degree for it). Especially for this work, he independently studied English.

In 1898, Bunin again married a Greek woman, A.N. Tsakni, the daughter of a revolutionary emigrant. A year later, they divorced (the wife left Bunin, causing him suffering). Their only son died at the age of five from scarlet fever. His creative life is much richer than his family life - Bunin translates Tennyson's poem "Lady Godiva" and "Manfred" by Byron, Alfred de Musset and Francois Coppé. At the beginning of the 20th century, the most famous stories were published - "Antonov apples", "Pines", a prose poem "The Village", the story "Dry Valley". Thanks to the story "Antonov apples" Bunin became widely known. It so happened that for the topic close to Bunin, the ruin of noble nests, he was criticized by M. Gorky: “Antonov apples smell good, but they smell by no means democratic.” Bunin was a stranger to his raznochintsy contemporaries, who perceived his story as a poeticization of serfdom. In fact, the writer poetized his attitude to the passing past, to nature, to his native land.

In 1909, Bunin became an honorary member of the St. Petersburg Academy of Sciences. Much has also changed in his personal life - he met V. N. Muromtseva at the age of thirty-seven, finally creating a happy family. The Bunins travel through Syria, Egypt, Palestine, and Bunin writes the book "Shadow of a Bird" based on travel impressions. Then - a trip to Europe, again to Egypt and Ceylon. Bunin reflects on the teachings of the Buddha, which is close to him, but with many postulates of which he does not agree. The collections Sukhodol: Novels and Stories 1911-1912, John Rydalets: Stories and Poems 1912-1913, The Gentleman from San Francisco: Works 1915-1916, a six-volume collected works were published.

The First World War was for the writer the beginning of the collapse of Russia. He expected disaster from the victory of the Bolsheviks. He did not accept the October Revolution, all thoughts about the coup are reflected by the writer in his diary " cursed days(he is overwhelmed by what is happening). Not thinking of their existence in Bolshevik Russia, the Bunins leave Moscow for Odessa, and then emigrate to France - first to Paris, and then to Grasse. The uncommunicative Bunin had almost no contact with Russian emigrants, but this did not prevent his creative inspiration - ten books of prose became a fruitful result of his work in exile. They included: "The Rose of Jericho", "Sunstroke", "Mitina's Love" and other works. Like many books by emigrants, they were imbued with homesickness. In Bunin's books - nostalgia for pre-revolutionary Russia, another world, left forever in the past. Bunin also headed the Union of Russian Writers and Journalists in Paris, led his column in the Vozrozhdenie newspaper.

In emigration, Bunin was overtaken by an unexpected feeling - he met his last love, G. N. Kuznetsov. She lived for many years with the Bunin couple in Grasse, helping Ivan Alekseevich as a secretary. Vera Nikolaevna had to put up with this, she considered Kuznetsova someone like adopted daughter. Both women valued Bunin and agreed to voluntarily live on such terms. Also, a young writer L.F. Zurov lived with his family for about twenty years. Bunin had to support four.

In 1927, work began on the novel "The Life of Arseniev", Kuznetsova helped Ivan Alekseevich in rewriting. After seven years of living in Grasse, she left. The novel was completed in 1933. This is a fictional autobiography with many real and fictional characters. Memory, which travels the life-long path of the hero, is the main theme of the novel. “Stream of Consciousness” is a feature of this novel that makes the author related to M. J. Proust.

In 1933, Bunin was awarded the Nobel Prize "for the rigorous skill with which he develops the traditions of Russian classical prose" and "for the truthful artistic talent with which he recreated a typically Russian character in artistic prose." It was the first prize for a Russian writer, especially an exiled writer. The emigration considered Bunin's success their own, the writer allocated 100 thousand francs in favor of Russian emigrant writers. But many were unhappy that they were given no more. Few people thought about the fact that Bunin himself lived in unbearable conditions, and when the telegram about the award was brought, he did not even have a tip for the postman, and the received award was only enough for two years. According to the wishes of readers, Bunin published an eleven-volume collected works in 1934-1936.

In Bunin's prose, a special place was occupied by the theme of love - an unexpected element of "sunstroke", which cannot be sustained. In 1943, a collection of love stories " Dark alleys". This is the pinnacle of the writer's work.

Committee of Education and Science of the Kursk Region

OBPOU "Zheleznogorsk PK"

2015

annotation

This methodological development contains detailed detailed lesson plans on the work of I.A. Bunin.

In the system of average vocational education to study the work of I.A. Bunin is given 4 hours, butunderstanding the laws of development of the human personality is impossible without knowing the features of the historical environment in which this person exists, so you need to focus on the generalcharacterization of the literary process end X IX-beginning of the XX century.

Thus, this system of lessons consists of a general characteristic of the literary process end X IX-beginning of the XX century, studying the biography of the writer, his lyrics and prose.

Content:

1. General characteristics of the literary process end X I X

Early twentieth century. ……………………………………………………… 3 2. Ivan Alekseevich Bunin (1870-1953). Essay on life and creativity.

Traditions XIXcentury in Bunin's lyrics. Expressive reading and analysis of the poems: “Evening”, “I will not tire of repeating you, stars!…”, “We met by chance at the corner”, “I came to her at midnight…”, “Kovyl”, etc. ……………… ……………………………….10

3. I.A. Bunin. Stories. "Easy breath",Clean Monday. Beauty and death, love and separation in the stories of the writer. "Sir from San Francisco" Condemnation of the lack of spirituality of existence. ………………………………………………………...37

4. List of references. ……………………………………………...55

Lesson #1

Topic: "General characteristics of the literary process end X I X-beginning of the XX century.

Goals:

educational:

;

educational:

give an idea of ​​the connection between the historical and literary processes of the early twentieth century;

to find out what is the originality of realism in Russian literature of the beginning of the century;

note the diversity of literary movements, styles, schools, groups;

developing:

development of note-taking skills;

Lesson type:

Type of lesson: lecture.

Methodical methods: writing lecture notes.

Predicted result:

knowabout the main historical and literary processes of the early twentieth century, literary trends, styles, schools;

be able tohighlight the main points in the text to distinguish between the features of the directions and currents of a given era, to express orally and in writing their judgments on the history of Russian literature.

Equipment : notebooks, computer, multimedia, presentation.

Time is most interesting by the diversity of its contradictions and their abundance.

(M. Gorky)

During the classes

I. Organizational stage.

II.

1. The word of the teacher.

A new era has arrived in literature. With their problems, topics and authors. What is it, the twentieth century? Today's conversation will help to feel the atmosphere of the early twentieth century.

Expressive reading of A. Blok's poem "Two centuries".

Two centuries

Nineteenth century, iron,

Truly a cruel age!

You in the darkness of the night, starless

Careless abandoned man!

In the night of speculative concepts,

materialistic small deeds,

Powerless complaints and curses,

Bloodless souls and weak bodies!

With you came the plague to replace

Neurasthenia, boredom, spleen,

A century of smashing foreheads against the wall,

economic doctrines,

Congresses, banks, federations,

Table speeches, red words,

Age of stocks, rents and bonds

And inactive minds.

Twentieth century ... More homeless

Even worse than life is darkness

(Even blacker and bigger

Shadow of Lucifer's wing).

Consciousness of a terrible deceit

All former small thoughts and faiths,

And the first airplane takeoff

Into the wilderness of unknown realms...

And disgusted with life

And crazy love for her

And passion and hatred for the motherland ...

And black, earthly blood

Promises us, inflating veins,

All destroying the frontiers,

Unheard of changes

Unforeseen riots...

2. Discussion of the topic and objectives of the lesson.

III

Lecture. General characteristics of the literary process end X I X-early XX century.

(The course of the lecture is outlined by the students).

Man and the epoch is the main problem of art, since understanding the laws of development of the human personality is impossible without knowing the features of the historical situation in which this person exists. Therefore, at the beginning of the lecture, let us recall what our country was like in order to clarify the features of the Russian literary process.

1. Socio-economic and political development of Russia.

The beginning of the twentieth century - the reign of Emperor NicholasIIwho ascended the throne in 1894. Russia at that time was a country with an average level of development of capitalism. The abolition of serfdom in 1861, the reforms of the 60-70s. did not pass without a trace: the capitalist industry grew at a high rate (first place in the world), new industries (oil, chemical, mechanical engineering) and new industrial regions (primarily Donbass-Krivoy Rog) arose.

Railways connected the Center with the outskirts and stimulated the development of the country. Large banks connected with the industry arose. The financial system after the reform carried out in 1897 by Minister of Finance S. Yu. Witte (the introduction of gold backing of the ruble and the free exchange of paper money for gold) was one of the most stable in the world.

Russia is among the five most developed industrial countries. But high quantitative indicators (growth rates, concentration level, production volumes) were combined with rather low qualitative ones. Labor productivity was low. The development of the economy was extremely uneven across sectors and regions of the country.

The agrarian question acquired extreme acuteness at the beginning of the 20th century. Historians call agriculture the Achilles' heel of Russia at that time. Economic modernization began to have some impact on the social structure of the country. The nobility (1% of the population) remained a privileged, politically dominant class, but its economic situation gradually worsened.

The impoverishment of noble estates, described with sympathy by I. A. Bunin and A. P. Chekhov, was a remarkable phenomenon of the era.

The bourgeoisie, which was acquiring serious economic importance, was not united. A new Petersburg bourgeoisie grew up, closely connected with the state, banks and advanced industries.

The peasantry (more than 80% of the population) suffered from lack of land.

The position of the working class (less than 10% of the population) at the beginning of the 20th century was difficult, long working hours, poor living conditions, low wages, lack of rights - these are the reasons that caused dissatisfaction among the workers.

Officials, the clergy and the intelligentsia were special social groups.

By the beginning of the 20th century, modernization had practically not affected the political sphere. Russia remained an autocratic (absolute) monarchy.

2. Culture in Russia in the early twentieth century.

Entering the 20th century, Russia was changing. Freedom of speech, press, assembly, activity became a reality political parties. The revolution of 1905-1907 was a shock and a warning to society and the authorities.

There is nothing surprising in the fact that the beginning of the century brought Russia an extraordinary flowering of culture - heroic and tragic at the same time.

Significant changes took place in the education system. Seriously discussed the task of eliminating illiteracy, the introduction of universal primary education. The periodical press and book publishing played an important educational role.

The discoveries of Russian scientists had global importance. Laureates Nobel Prize became I. Pavlov and I. Mechnikov.

IN artistic culture the beginning of the twentieth century - a violent variety of styles, trends, ideas, methods. The golden age of Russian culture experienced in the XIXcentury, is replaced by its silver age, a new and whimsical flourishing.

The reading public is engrossed romantic stories M. Gorky and was shocked by his play "At the Bottom". Popular I. Kuprin ("Duel", " Garnet bracelet”) and L. Andreev (“The Life of a Man”, “Tsar-Hunger”), I. Bunin is sad about the fate of the noble estates.

And in poetry, symbolist decadents (A. Blok, K. Balmont, V. Bryusov), acmeists (N. Gumilyov, A. Akhmatova), futurists (V. Mayakovsky, V. Khlebnikov) triumph. They criticize realism for sociality, naturalism, slavish adherence to reality and the desire to display it without transforming it.

Something similar happens in painting. They revere the realists I. Repin, V. Surikov, the Vasnetsov brothers, but willingly attend the seemingly scandalous exhibitions of the World of Art (A. Benois, K. Korovin) and “ Jack of Diamonds"(P. Konchalovsky, R. Falk).

N. Rimsky-Korsakov continues to work in music (the operas The Tale of Tsar Saltan, The Golden Cockerel), who taught A. Glazunov and I. Stravinsky (the ballet Petrushka). new artistic discoveries for Russia are the music of the young S. Rachmaninov and the experimental opuses of A. Scriabin.

The Russian realistic theater is flourishing. The system of K. Stanislavsky, who together with V. Nemirovich-Danchenko created the Moscow Artistic theater. The great theatrical reformers V. Meyerhold and E. Vakhtangov also come to the stage. Singer F. Chaliapin, ballet dancer A. Pavlova shine, Vera Kholodnaya and Ivan Mozzhukhin star in the first silent films.

The famous Russian Seasons (since 1907) are held in Paris, exhibitions of Russian painting, music and ballet are offered to sophisticated Parisians. Delight causes "The Dying Swan" performed by Anna Pavlova.

In Russian culture - the silver age.

3. " silver Age» Russian Literature.

1) In parallel with the emergence of more and more new poetic schools, one of the most interesting trends of the era was growing stronger - the growth of the personal principle, the raising of the status of creative individuality in art.

Poets “are different from each other, from different clays. After all, these are all Russian poets, not for yesterday, not for today, but forever. God did not offend us like that" (O. Mandelstam ).

2) Literary school (trend) and creative individuality - two key categories of the literary process of the early twentieth century. Aesthetic thoughtlessness is a general trend in the lyrics of the Silver Age.

Characteristic figures standing outside the directions ("Lone Stars") were M. Tsvetaeva, M. Kuzmin, V. Khodasevich.

3) The development of capitalist relations leads to the emergence of the theme modern city(“Factory” by A. Blok, “Twilight” by V. Bryusov, “Tosca of the station” by I. Annensky, etc.).

4) The desire to express more complex, volatile or contradictory states of the soul required a new attitude to the word-image:

I am a sudden break

I am the playing thunder

I am a clear stream

I am for everyone and no one.

K. Balmont

There was a premonition of "coming rebellions":

Where are you, future Huns,

What cloud hung over the world?

I hear your cast-iron clatter

Through the still undiscovered Pamirs.

V. Bryusov

5) The poems include exotic images and motifs as a counteraction to the measured bourgeois life (“Giraffe”, “Lake Chad” by N. Gumilyov).

6) Futurist poets proclaim a resolute “no” to the heritage of the classics, destroying the “aesthetics of junk” (verses by V. Mayakovsky, V. Khlebnikov, etc.)

Conclusion. The main features of the development of literature in the first half of the 20th century:

radical reorientation of the principles of reflection of life in literature;

significant changes in the internal organization of literature itself;

a closer relationship of literature with the problems of scientific, socio-political, cultural development of civilization;

expansion of literary contacts.

V

1. Based on the lecture material, prepare a story on the topic "Socio-economic and cultural development of Russia in the early twentieth century."

2. Report on the life and work of I. Bunin.

VI . Summarizing. Reflection.

What did you get in the lesson to understand the characteristic features of the literary process in Russia at the beginning of the 20th century?

Lesson #2-3

Subject: Ivan Alekseevich Bunin (1870-1953). Essay on life and creativity. Traditions XIX century in Bunin's lyrics. Expressive reading and analysis of poems: “Evening”, “I will not tire of repeating you, stars! ...”, “We met by chance at the corner”, “I came to her at midnight ...”, “Kovyl”, etc.

Goals:

educational:

the formation of the moral foundations of the worldview of students;

creating conditions for involving students in active practical activities;

fostering love for Russian classical literature and artistic expression;

educational:

acquaintance with the biography of the poet;

formation of ideas about the features of I. Bunin's lyrics;

to note how the writer's worldview was reflected in the works;

teach to identify the features of Bunin's poetry, its subject matter;

developing:

skills development analytical reading, note-taking and drawing up a plan, analysis of a poetic text;

development of mental and speech activity, the ability to analyze, compare, logically correctly express thoughts.

Lesson type: a lesson in improving knowledge, skills and abilities.

Type of lesson: lecture with elements of analysis.

Methodical methods: drawing up a lecture summary, analysis of a lyrical work, a conversation on issues,expressive reading of the text,independent work with the textbook

Predicted result:

knowthe main stages of the poet's life, the features of his lyrics,means of artistic expression, rough plan analysis of the poem;

be able todraw up a plan of the text, highlight the main thing in the text, analyze the lyrical work.

Equipment : notebooks, textbook, collection of poems, computer, multimedia, presentation.

All his life, destiny, biography belongs to Ivan Alekseevich Bunin of Russia, great Russian literature. (Mikhail Roshchin)

He is the loving son of the Russian Noah, and he does not laugh at his father's nakedness, and is not indifferent to it ... He is connected with Russia by a fatal connection. (July Aikhenwald)

During the classes

I. Organizational stage.

II. Motivation of educational activity. Goal setting.

1. The word of the teacher.

What do you know about the Nobel Prize? Who becomes its winner?

We are starting to study the work of I. A. Bunin, the first among the writers of great Russian literature, who was awarded the most famous prize in the world - the Nobel Prize.

He lived long life and worked in literature for seven decades. Bunin's work was highly appreciated by his contemporaries and continues to excite the souls of new and new admirers of his talent.

Bunin's credo is "an in-depth and essential reflection of life."

Let's turn the pages of the writer's life together and determine how he life principles and worldview reflected in creativity.

2. Discuss the objectives of the lesson with students.

III . Knowledge update

How was the socio-economic and political development of Russia at the turn of the century?

- How did Russian culture change in the early 20th century?

What are the features of the poetry of the "Silver Age".

IV . Improving knowledge, skills and abilities.

Individual message. Life and work of I. Bunin.

Biography stages.

The childhood of the future writer, who was born in Voronezh, in 1870, in a family of Oryol landowners, passed on the Butyrka farm, near Yelets.

Belonging to one of the most noble "literary" families, who bestowed Russian literature on Vasily Zhukovsky and the poetess Anna Bunina, the boy began to write poetry from the age of seven.

Expelled from the gymnasium for poor progress, he was educated at home under the guidance of his brother Julius.

In 1887-1892. the first publications of poems and critical articles appear, then the stories of I. Bunin.

In 1900 Bunin's story "Antonov apples" was recognized as a masterpiece of the latest prose.

In 1903, Bunin was awarded Pushkin Prize Russian Academy of Sciences for the poetry collection Falling Leaves and the translation of the Song of Hiawatha.

In 1915, the publishing house of A. F. Marx published complete collection Bunin's writings.

Having tragically survived the October Revolution, Bunin, together with his wife Vera Nikolaevna Muromtseva, leaves for emigration.

After a number of tests, the Bunins remain in France, where almost the entire second half of the writer's life will pass, marked by the writing of 10 books, collaboration with the leading "thick" magazine of the Russian abroad "Modern notes", the creation of the novel "Arseniev's Life".

In 1933, Bunin became the first Russian writer to be awarded the Nobel Prize "for the truthful artistic talent with which he recreated the typical Russian character in fiction."

In Bunin's diary dated 10/20/1933 we read:

“I woke up at 6:30 this morning. I lay down until 8, dozed a little. Gloomy, quiet, dotted with a little rain near the house.

Yesterday and today involuntary thinking and the desire not to think. All the same, expectation, sometimes a feeling of timid hope - and immediately surprise: no, this cannot be! ..

God's will be done - that's what needs to be repeated. And, pulling himself up, live, work, reconcile courageously.

In 1934, the Berlin publishing house "Petropolis" began to publish an 11-volume collection of Bunin's works, which he himself would consider to be the most fully expressing the author's will.

During the German occupation of France, wanted Jews are hiding in the Bunins' hideout in Grasse.

In 1943, the top book of Bunin's prose "Dark Alleys" was published in New York.

In the late 1940s, Bunin carefully approached the Soviet representatives in France, discussing the possibility of publishing his works in the USSR; however, in the end, he refuses to return.

He died in exile.

I. A. Bunin in the memoirs of contemporaries.

Boris Zaitsev.

“I always liked him. From a very young age, when I was a novice writer, and he was already famous, I just liked him “meaninglessly” and thoughtlessly: how I like the face, the sunset, the smell of the forest. Ending life and thinking about him, I find that he treated him, in fact, as a natural phenomenon - the elements. In his appearance, figure, movements, manner of speaking, unique talent, there was always for me a certain charm, beyond reason.

The first meetings are connected with Moscow - a young bohemian of the left literary direction (he himself did not belong to it, but he visited us). On the other hand, both of us were members of the completely opposite "Sereda", a circle of older realist writers.

“In the middle of the journey of our life ... ”, at the age of thirty-five, he was graceful, proud, self-confident. It did not go to a large audience. Gorky, Andreev was noisy, he was not. But his solid literary appreciation grew. In 1910, he was also elected to the academy, according to the category of literature.

The war, the pre-revolutionary years and the revolution itself have scattered us greatly. Only here, in emigration, life brought them closer again. We met constantly in Paris, but especially remained in the soul of Grasse, a nice villa "Belvedere", modest, with a striking view of Cannes, the sea, the Esterel mountains to the right. South, sun, light, vast expanse, the smell of lavender, cumin - a product of Provence - and in general the spirit of poetry that surrounded the life of Ivan, Vera, young writers-friends who lived with them (L. Zurov, Galina Kuznetsova).

In the mornings, the three of us scribbled each of our own on the top floor, my Vera and Vera Bunina (friends from their youth, back in Moscow) had their women's conversations, and downstairs in a large bright office Ivan wrote some kind of "Arseniev's Life" or "Cicadas" .

All in white, thin, graceful, now much older than in Moscow at the time of the Sereda, but light and fast, as before, I again somehow liked artistically: well, a special creature, gifted in every word, movement, - even if the character is not easy (not everyone can be easy, especially outstanding ones), but some kind of man-elements. Everything in it is earthly, in a sense pagan. Merezhkovsky said about Tolstoy: "Seer of the flesh" - that's right. Bunin adored Tolstoy. He even liked the shape of his forehead. “Just think about it, it’s like a beast’s eyebrows...”. In his youth, strange as it may seem, Ivan was even at one time a Tolstoyan (which he himself wrote about). Over the years, this has gone, but the admiration for Tolstoy - Tolstoy's vigilance, pictorialism remained.

Ivan himself has almost more outward depiction than Tolstoy. Almost animal eye, scent, touch. I do not want to say that I was closed to him upper world- the feeling of God, the universe, love, death: he also felt all this with a certain Asian-Buddhist tinge. The Buddha was something close to him. But the feeling of sin, guilt was completely absent. “No, my dear, I did not kill anyone, did not steal anything ...”, - I have no doubt, and no one suspected him of this. In general, the "seer of the flesh" was closer to him than the Buddha. And towards the end of his life, this very flesh, which had weakened in his old age, took possession of his being very much, began, as it were, to suffocate with its embraces. (Zaitsev B.K. Blue Star. - M., 1989.)

Nina Berberova.

“How I loved his style in conversation, reminiscent of the hero of the “Village of Stepanchikov” Foma Fomich Opiskin: “Just call me Your Excellency”, and his strong handshake, talking about moles” and “noble ears” and in general about everything “noble” - I Of course, I have never heard such a thing even from grandfather Karaulov! There was something ancient, feudal here, but at the same time he always wanted to be with the young, to be young himself. How I loved his stories (taken ready-made from old stories) about dogs - murugih, busty ...; about the taverns on the main Orlovskaya street - go and check them out, probably half of them are invented right now, on the spot, but all together - a miracle, how good!

If Zinaida Nikolaevna (Gippius) and Dmitry Sergeevich (Merezhkovsky) at the first meeting gave their interlocutor some kind of exam (“what do you believe?”), then Bunin did it in a completely different way, not “what kind of faith do you have?”, But what impression do I make on you? What else? How is that? He drew out his words a little (in a lordly or Moscow way? Or like “in our place, in Belevsky district?”) And all the time when he spoke, he looked at me, trying to read in my face the impression that he makes on me .. .

And you don't like my poems, do you?

No... like... but much less than your prose.

It was his sore spot, I didn't know it back then.

But a year later, in our conversations, he returned to the topic of poetry and prose, the burning issue of his whole life. He once told me in Grasse, where I went to see him:

If I wanted to, I could write any of my stories in verse. Here, for example, "Sunstroke" - if I wanted to, I would have made a poem out of it.

I felt embarrassed, but said I did. I was amazed by these words: he apparently thought that any “plot” could be dressed in any, so to speak, to impose a form on the content that was born on its own, like a naked baby, for which you need to choose a dress ...

His character was heavy, he transfers domestic despotism to literature. He was not only irritated, angry, he became furious and furious when someone said that he looked like Tolstoy or Lermontov or some other stupidity. But he himself objected to this with even greater absurdity.

I am from Gogol. Nobody understands anything, I came out of Gogol.

The people around were frightened and awkwardly silent. Often his fury suddenly turned into comicality, this was one of his sweetest traits.

I will kill! I'll choke! Be silent! I'm from Gogol!..

He loved laughter, he loved every “liberating” function of the organism, and he loved everything around and around this function. Once in a grocery store, he chose balyk in front of me. It was wonderful to see how his eyes lit up, and at the same time it was a little ashamed of the clerk and the public. When he later told me many times that he loved spring, that he could not come to terms with the idea that there would be springs, but he would not be, that he had not experienced everything in his life, had not smelled all the smells, had not loved all the women (he, of course, used another word) that there is still one breed of women in the Pacific Islands that he had never seen, I always remembered this balyk. And, perhaps, I can now say: about women, these were all just words, he was not so worried about them, but about salmon or the smoothness or sleekness of his own body - it was quite serious ... (Berberova N. My italics. // October, 1988, No. 11.)

Ivan Bunin about himself.

"I come from the old noble family, who gave Russia many prominent figures both in the field of state and in the field of art, where two poets of the beginning of the last century are especially famous: Anna Bunina and Vasily Zhukovsky, one of the luminaries of Russian literature, the son of Afanasy Bunin and the captive Turkish woman Salma.

All my ancestors have always been connected with the people and with the land, they were landowners. My grandfathers and fathers were also landowners, who owned estates in central Russia, in that fertile substeppe, where the ancient Moscow tsars, in order to protect the state from the raids of the southern Tatars, created barriers from settlers from various Russian regions, where, thanks to this, the richest Russian language was formed. and where almost all the greatest Russian writers came from, led by Turgenev and Tolstoy.

I was born on October 10, 1870 in the city of Voronezh. He spent most of his childhood and youth in the countryside. I started writing early. Appeared early in print. Critics took notice of me pretty soon. Then my books were awarded the highest award more than once. Russian Academy sciences with the Pushkin Prize... In 1909, this Academy elected me among the twelve honorary Academicians. However, I did not have more or less wide fame for a long time: for several years, after the appearance of my first stories in print, I did not write or publish anything but poetry; I did not touch in my works on political and social topicality; I did not belong to any literary school, I did not call myself either a decadent, or a symbolist, or a romantic, or a realist; meanwhile, the fate of the Russian writer in recent decades often depended on whether he was in a struggle with the existing state system, whether he came out of the "people", whether he was in prison, in exile, or on his participation in that "literary revolution”, which, to a large extent because of the imitation of Western Europe, was carried out so noisily in these years among the rapidly developing urban life in Russia, its new critics and new readers from the young bourgeoisie and the young proletariat. In addition, I did not rotate much in the literary environment. I lived a lot in the countryside, traveled a lot in Russia and abroad; in Italy, in Turkey, in the Balkans, in Greece, in Palestine, in Egypt, in Algeria, in Tunisia, in the tropics. I, as Saadi said: “I tried to survey the face of the world and leave in it the coinage of my soul”, I was occupied with psychological, religious, historical questions. Twelve years ago I printed The Village. This was the beginning of a whole series of works that sharply depicted the Russian soul, its peculiar interweaving, its light, dark, but almost always tragic foundations.

In Russian criticism and among the Russian intelligentsia, where, due to many peculiar conditions, and recently and simply due to ignorance of the people or political considerations, the people were almost always idealized, these "merciless" works evoked very passionate responses and ultimately brought me what is called a success, which further strengthened my subsequent work. During these years, I felt how every day my hand grew stronger, how ardently and confidently the accumulated forces in me demanded an outcome. But then the war broke out, and then the Russian revolution. (Bunin I. A. Collected works in 6 volumes. T. 6 - M., 1988.)

2. Teacher's word.

What do you remember about Bunin as a person and a writer?

Bunin: “You need to write poetry every day, just as a violinist or pianist must certainly play his instrument for several hours every day. What to write about? About anything. If you don't have any topic or idea at the moment, just write about everything you see...

Every object that surrounds you, every feeling you have is a theme for a poem. Listen to your feelings, observe the world around you and write... Be independent in art. This can be learned. And then the inexhaustible world of true poetry will open before you. You will breathe easier."

We also have to enter the world of Bunin's true poetry.

Individual message. Features of I. Bunin's poetry.

Against the backdrop of Russian modernism in the early 20th century, Bunin's poetry stands out as good old. She continues the eternal Pushkin tradition and, in her pure and strict outlines, gives an example of nobility and simplicity.

Poetizing the facts, the poet is not afraid of the old, but not aging values ​​of the world, does not hesitate to sing what many eyes have already stopped at, what many other people's lips have already sung.

Spring, stream, sunrise, noon, insistent songs of nightingales, doves, his favorite stars, February, April, the "golden iconostasis of the sunset" - all this continues to inspire him.

All this, seemingly exhausted by his predecessors at different ends of the earth, was waiting for him, exists for him, fresh and bright, not weakened in its original purity.

We recognize Bunin's style. He draws facts, and from them, beauty itself, organically, is born. And you can call it white, because it is his favorite color; the epithets "white, silver, silvery" are often heard on its light pages.

Not only on his window, “silver with hoarfrost, like chrysanthemums have blossomed,” but in general his typical poems seem to be covered with hoarfrost.

They sometimes evoke an idea of ​​just those captivating patterns that our Russian landscape painter-frost displays on glass, and they sometimes ring like crystal pendants from that chandelier, which Bunin often mentions in his poems.

Imbued with the spirit of honesty, the poet does not feel fear of prose, false shame in front of it, and it is so normal for him to compare the wings of gliding gulls with white eggshells, or call the clouds shaggy, or with the help of the sun turn the rough patch of a windmill into gold.

He does not waste his lyricism in vain; In general, he is not talkative. Having told in ungenerous words about something important or accidental, about what happened in nature or in the rooms of the estate, in a strict outline he conveyed some oriental legend or parable, by this he inevitably and, as if against his will, awakens a warm movement in us. hearts.

Reading and analysis of I. Bunin's poem "The Last Bumblebee".

In 1916, just before the catastrophe of the October Revolution, along with the stories “The Last Spring”, “The Last Autumn”, Bunin’s poem “The Last Bumblebee” appears. The epithet "last" in these works is not accidental. But what does it mean? Let's figure it out together: what is this poem about?

Expressive reading.

The last bumblebee

Black velvet bumblebee, golden mantle,

mournfully buzzing melodious string,

Why are you flying into human housing

And as if you yearn for me?

Outside the window is light and heat, window sills are bright,

The last days are serene and hot,

Fly, hum in a dried-up Tatar,

On a red pillow, sleep.

It is not given to you to know human thought,

That the fields have long been empty,

That soon a gloomy wind will blow into the weeds

Golden dry bumblebee!

Work with text.

What mood are the lines filled with?

The melancholy-drawn-out intonations of the unhurried three-syllable meter evoke a feeling of regret for something that has passed away. A lonely man yearns: in "human habitation" he is alone, alone and a bumblebee. Throughout the poem, pronouns are only singular.

What can you say about the theme of the work?

At first glance, the theme of nature sounds in it. A description is given of the last hot days of summer or early autumn, on one of them “the last bumblebee” flew into “human dwellings”. But this poem also applies to philosophical lyrics, in which the motives of longing and loneliness sound. In the center is already a man with his "human thought".

What is the lyrical hero yearning for? What was the symbol of his experiences?

The lyrical hero yearns for the “serene” days of youth, for a quiet life in the countryside, which was disturbed by revolutionary upheavals. The empty dead fields and the “last bumblebee”, which is also waiting for death, became a symbol of the hero’s experience:

Soon a gloomy wind will blow into the weeds

Golden dry bumblebee!

5. Working with the textbook .

It's good that you noted the ambiguity of the theme of the poem "The Last Bumblebee." Read the article "Bunin the Poet" (textbook, pp. 32-33). In the form of a plan, list the themes that are most characteristic of Bunin's poetry.

1) Life of the parental home, Russian estate.

2) Love.

3) The world of Russian nature.

4) Philosophical lyrics.

6. Lecture. The theme of Bunin's poetry.

Theme of nature.

Poems: “Snowstorm”, “October dawn”, “Thoughtful month, deep midnight ...”, “ Green color sea ​​wave”, “Hollow water is raging”.

The theme of nature is characteristic of the poetry of I. Bunin at the turn of the century and is predominant in all his work.

True to tradition realistic landscape 19th century, the poet at the same time emphasizes the self-sufficiency and independence of nature from man. No matter how the geography of Bunin’s poems changes: from the expanses of the steppe and the wilderness of the early pores to the Asian, Middle Eastern, Pacific landscapes of 1903-1916, the poet experiences the loneliness of man among nature and the loneliness of nature without man, the “blissful longing” of the desert. Ivan Alekseevich prefers to describe nature at the “border” time of day - evening, foggy morning.

Most of all, Bunin's difference from the poetry of the Symbolists is palpable in landscape lyrics. Where the symbolist saw in nature "signs" of a different, higher reality, Ivan Alekseevich sought to objectively reproduce the reality he idolized. Hence the picturesque accuracy and sophistication of Bunin's sketches. It is the landscape lyrics of I. Bunin that are more characterized by visual and abundance of color effects, as well as a stunning fullness of sound effects.

Most of all, the author uses images of the sky, steppe, stars. The stars in his lyrics are, first of all, mysterious celestial writings that predetermine earthly destinies3. No less often the poet refers to the images of animals.

Reading and analysis of the poem "The green color of the sea wave."

Sea green

Through the glassy sky

Dawn Star Diamond

Shines in his transparent bosom.

And, like a child after sleep,

The star trembles in the fire of the daylight,

And the wind blows in her eyelashes,

So that she does not close them.

Which two images, two poles, opposite in emotional sound, immediately attract attention?

Sea wave and early morning star.

What rhyme does he use?

Cross, precise: sky - bosom; inaccurate: waves are stars.

Determine poetic size of this work.

iambic tetrameter, but not always maintained,strays into iambic trimeter, which gives the poem an amazing smoothness.

The first image issea ​​wave image, build around this imagelexical chain with the definition of visual means.

“The green color of the sea wave / Through ...” (metaphor), “in the glass sky” (epithet); we can say that the first two lines are a detailed metaphor, in which each word makes its “contribution” to the creation of an amazing and unexpected image of a sea wave.

What associations evokes the image of a sea wave in the first stanza?

Sea, space, freshness, vastness, beauty.

There, at the horizon, as it seems to the lyrical hero, the sea wave is slightly detected on the motionless, empty sky, the poet finds the exact word "through". Whether there is aaccompanying images, expanding, deepening the meaning of this key image?

No.

The second image we named isthe image of the morning star. Let's build around itlexical chain, we will define the figurative means used by the author.

“The diamond of the early morning star / Shines in its transparent bosom” is an extended metaphor.

What associations does the image of the predawn star evoke?

Brightness, brilliance, light, beauty.

Thanks to a detailed metaphor, the poet highlights this image.

The star attracts with its brilliance, brightness, beauty and superiority over other images. If the sky is motionless in relation to the sea wave, then for the star it is a “transparent bosom”, the outdated, high word “bosom” emphasizes not only the breadth and depth of the sky, but also the fact that the sky is a native place for a star, a mother’s womb.

What can you say about the rhyme in stanza 1 of the poem?

The rhyme is cross, and if the sky - the bosom of the rhyme is exact, then the waves - the stars are the absence of an exact rhyme, this is what the poet highlights two key images of the poem.

Let's turn to the second stanza. Which image is in the spotlight?

Star image.

Let's line up aroundits lexical chain, let's define the figurative means used by the author.

“And, like a child after sleep, ...” - a metaphorical comparison; “A star is trembling in the fire of the morning star, ... /” - an extended metaphor.

What associations does the image of the early morning star evoke here?

Child, person, youth, excitement.

Transparent associations with the human, and not with the natural environment, cause us a detailed comparison, it leads us to the perception of the star not only as a natural phenomenon, but also a phenomenon associated with human nature- in one of the meanings, a star is defined as a celebrity, for example, a rising star.

Which accompanying imagesexpand, deepen the meaning of this key image?

The image of the wind.

Let's continue lexical chainassociated with the image of the morning star.

“And the wind blows into her eyelashes, / So that she does not close them” - an extended metaphor.

What associations does the image of the wind evoke?

Movement, power, purification.

The image of the wind echoes the word "through" in the first stanza. This verb has the meaning of movement, possibly under the influence of the wind. Thanks to this imageboth wave and starinextricably linked insingle image of nature. And who observes this picture of nature?

Man, the lyrical hero of the poem.

What can you say about him

He feels the connection of man with nature, notices the subtleties in the changes of nature, its beauty, he himself is a part of nature.

What does the lyric hero feel?

Joy, delight, happiness.

Let's read the poem expressively to convey these feelings.

Expressive reading of the poem.

Russia theme.

Poems: "Motherland", "Motherland", “In the forest, in the mountain, a spring, alive and sonorous ...”, “ Overgrown with nettles and weeds My father's house", " That star that swung in dark water », « From idleness and lies, from vain amusements … » .

The theme of Russia is clearly expressed throughout the entire work.

Bunin's nostalgia and philosophy are reflected in this topic. He seeks to read and unravel the secret laws of the nation, which, in his opinion, are eternal. Legends, legends, parables - folk wisdom become poetry.

"Motherland" is a poem representing one of the leading themes in Bunin's poetry - the theme of Russia. It, despite the fact that it was written by a relatively young poet (21 years old), is extremely characteristic of all subsequent work of the lyricist. Three epithets about the Motherland - "tired, timid and sad" - this is a characteristic of Russia in many of his poems. The poet does not idealize the image of the Motherland, on the contrary, he clearly sees all its problems and focuses on them in his lyrical works. And in some poems, he speaks sharply about his native country - impoverished, hungry, but beloved. Disclosure of the metaphor "Motherland" - wandering along a dusty road old woman, a mother going to her mentally ill child is one of the most poignant and poignant images.

Like many other themes in the lyrics, the theme of the Motherland is revealed using elements of the landscape. The poet linked together the image of nature and homeland. For him, the nature of Russia is the steppes of the Oryol region, where the writer was born and raised - truly Russian nature in the author's opinion.

Reading and analysis of the poem "The bird has a nest, the beast has a hole."

The bird has a nest, the beast has a hole.

How bitter was the young heart,

When I left my father's yard,

Say sorry to your home!

The beast has a hole, the bird has a nest.

How the heart beats, sadly and loudly,

When I enter, being baptized, into a strange, hired house

With his old knapsack!

What is this poem about?

The theme of loneliness, homelessness, foreign land and homesickness. And also memories of home, father's yard, and everything alien surrounds the heroes: a foreign country, foreign people, a strange house, a strange monastery ...

How does Bunin create a sense of hopelessness of the lyrical hero?

The epithets "bitter", "sorrowful", "dilapidated". Comparison of a man with a bird and an animal that has a nest and a hole.

Why did the poet change the word order in the repetition of the first line? Read without changing word order. What is heard?

Weeping, complaining, wailing. And when the order of words changes, not only bitterness is felt, but also protest, anger.

An octave alternates long and short lines. What is achieved by this?

Facts are stated in long lines: “the bird has a nest...”, “I left my father’s yard...”, “the beast has a hole...”, “I enter, being baptized, into someone else’s hired house...” . And in short lines - feelings escaping from the depths of the soul: “how bitter ...”, “I'm sorry ...”, “how the heart beats sadly and loudly ...”.

Conclusion. Isolation from the homeland makes a person suffer, fills his soul with bitterness, pain, loneliness.

Philosophical lyrics

Poems: : "Dog", "Word", "In the country chair, at night, on the balcony ...", "And flowers, and bumblebees, and grass, and ears of corn ...".

An appeal to philosophical lyrics occurs after the first Russian revolution (1906-1911). The most important motive of the poet's lyrics is the superiority of natural being over social life. In his poems, Bunin acts as a great lover of life. Love for him is a sacred feeling, a state of his soul. Life for Bunin is a journey of memories. Earthly life, the existence of nature and man are perceived by the poet as part of the action unfolding in the vastness of the universe. The eternal (this is nature and beauty) in Bunin's image is not hostile to the temporal, it is woven from the threads of the temporal. Bunin sings not the sky, but the earth's eternal longing for the sky. Eternity, united harmony, beauty, God are unchanging values ​​for Bunin. A sense of proportion helped him merge into a harmonious whole the dream of the eternal and the interest in the temporal, the desire for heaven and love for the earth.

The special atmosphere of Bunin's philosophical poems is the atmosphere of silence. Noise, fuss distract from the main thing - from the spiritual life. Bunin's lyrical hero is having a hard time with his loneliness; in poems, the lyrical hero tries to comprehend the transience of human life and time.

One of the directions of I. Bunin's philosophical lyrics was poems dedicated to God. God is revealed as Love – warmth, freshness, light. The atmosphere of silence is an opportunity to hear God. In the midst of total darkness sole carrier light is divine. Poetry is characterized by the use of biblical motifs.

Motives are used: death, sorrow, loneliness, silence, the severity of the path to truth, biblical motifs and etc.; often the use of pathos invective.

Reading and analysis of the poem "And flowers, and bumblebees, and grass, and ears of corn."

And flowers, and bumblebees, and grass, and ears of corn,

And azure, and midday heat ...

The time will come - the Lord of the prodigal son will ask:

“Were you happy in your earthly life?

And I'll forget everything - I'll only remember these

Field paths between ears and grasses -

And from sweet tears I will not have time to answer,

How is the philosophical problem of human happiness solved in this poem by I.A. Bunin?

Happiness, according to Bunin, is in communion with nature, in harmony with it, in the pleasure of seeing the azure sky, wild flowers, emerald grass, golden ears of corn ...

Happiness is just walking along the field paths “between ears of corn and grass”.

Happiness is in the blissful field silence, in the aroma of ripe ears of corn and hay, in the midday heat, in the whisper of the breeze...

What do you hear in the polysyndeton of the beginning of the poem?

Polyunion conveys a flood of feelings of the lyrical hero. It seems that he will non-stop, excitedly list everything that brings joy, gives pleasure, peace of mind, gives happiness.

Do you believe that the lyrical hero was happy in "earthly life"? Why?

The sincerity of his feelings is not conveyed by words, feelings overwhelm him:

And from the sweet words I won’t have time to answer,

Falling to merciful knees.

The poem permeates the feeling of beauty, the feeling of happiness... What other feeling have we not mentioned?

About the feeling of gratitude to the Creator.

Conclusion. When there are a lot of problems and suffering in a person’s life, when there is neither peace, nor wealth, nor mutual love, when you are alone and it seems to you that you are the most unfortunate person on earth, you begin to grumble or, even worse, curse this difficult earthly life .. Remember that you have priceless riches - air, earth, water, sky, forests, lakes, sea, steppe, field, river ... Remember what peace of mind and peace bring the sound of the surf, bird singing, the light of a strawberry meadow , the rustle of golden ears.

A person who loves nature, who understands its beauty, is a happy person.

The theme of the poet and poetry.

Poems: "Poet", "Poet".

Like any poet, I. Bunin tried to comprehend the purpose of himself, the role of the creator, the essence of poetry. The program poem for him on this topic is the lyrical work "To the Poet" - the code of his poetic honor. The author does not oppose the poet to the crowd, urges not to lose the gift of speech, and this gift, according to Bunin, is a diamond given to man by God. Bunin's muse is nature. Therefore, he writes more about it, and the theme of the poet and poetry has not been widely embodied in lyrical works Bunin.

Reading and analysis of the poem "To the Poet".

In deep wells the water is cold
And the colder it is, the cleaner it is.
The careless shepherd gets drunk from a puddle
And in a puddle he will water his flock,
But the good one will lower the tub into the well,
The rope to the rope will be tied tighter.
A priceless diamond dropped in the night
A slave seeks by the light of a penny candle,
But he looks vigilantly along the dusty roads,
He holds a dry palm with a ladle,
Protecting fire from wind and darkness -
And know: he will return to the palaces with a diamond.

The poem "To the Poet" was written by Ivan Alekseevich Bunin in 1915. It was a difficult time for Russian literature. The "rulers of thoughts" of the readers were all sorts of modernists, who paid great attention to the formal side of a literary work to the detriment of its content. In addition, counters bookstores were inundated with low-quality, tabloid works. There was a bloody First World War, in which thousands of people died every day. That is why the poem of the future Nobel laureate was so relevant.

Dictionary work.

Negligent - negligent in his duties, negligent, uncaring. Nerdy - does not care.

Kind - 1. Bringing good to others, sympathetic.

2. Bringing good, goodness, well-being.

3. Good, moral.

Hall - a magnificent magnificent building, a palace.

How do you understand the content of this poem?

About whom and what does Bunin write about?

Determine the genre of this poem.

Poem - parable.

Dictionary work.

A parable is an allegorical literary work that includes a lesson.

What is the teaching of the poem by I.A. Bunin?

What appeal does Bunin make to fellow poets?

Does the text itself support your point of view? Does the title of the poem help you to make this conclusion?

Is the extraction of life-giving and pure moisture in the first stanza connected with the search for a priceless diamond? Why does a poet write about the same thing in different ways?

Theme of love.

Poems: “I am a simple girl on the tower”, “I entered her at midnight”, “Alien”, “We met by chance on the corner”.

The theme of love in the lyrics is less noticeable. In it, the author avoids deliberately beautiful phrases

The intimate lyrics of I. Bunin are tragic, they sound like a protest against the imperfection of the world. And again in love lyrics there is a motif of loneliness, so characteristic of Bunin's entire poetics. Bunin's concept of love is also embodied in his poems. The lyrical hero breaks up with his beloved, experiencing a tragic feeling and continuing to love. The theme of love in Bunin's poetry did not receive a sufficiently wide embodiment, and the author continued it in prose.

Reading and analysis of the poem "I am a simple girl on the tower."

I am a simple girl on the tower,
He is a fisherman, a cheerful person.
The white sail is sinking on the Liman,
He saw many seas and rivers.
They say Greek women on the Bosphorus
Good ... And I'm black, thin.
Drowning a white sail in the sea -
Maybe never come back!
I will wait in the weather, in bad weather ...
I can’t wait - I’ll read from the tower,
I will go out to the sea, I will throw a ring into the water
And I'll strangle myself with a black scythe.

How is this poem different from previous ones? What emotions did it evoke?

The intimate lyrics of I. Bunin are tragic, they sound like a protest against the imperfection of the world. Again, in the love lyrics, there is a motive of loneliness, so characteristic of Bunin's entire poetics. The lyrical hero breaks up with his beloved, experiencing a tragic feeling and continuing to love. The theme of love, which was not widely embodied in Bunin's poetry, was continued by him in prose.

Conclusion. The specificity of the poetics of A.I. Bunin.

The poetics of the mature Bunin the poet is a consistent and stubborn struggle against symbolism. The handwriting of Bunin the poet is chased, clear, the drawing is concise and concentrated, the manner is restrained, almost cold. His themes, language, ways of rhyming are devoid of their sharp renewal undertaken by the symbolists. “Against the background of Russian modernism, Bunin's poetry stands out as good old,” wrote Y. Aikhenwald. In poetry, Bunin sings beauty and peace, hence the orientation towards classical poetics.

Bunin's poetry clearly traces the traditions of Russian poets, his predecessors, primarily Pushkin, Tyutchev and Fet. Early lyrics were imitative. Bunin, like Pushkin, sees different tendencies in life that come into conflict with each other, and tries to reveal these contradictions. Like Pushkin, he emotionally draws closer to nature, believes that true poetry lies in the simplicity, naturalness of real feelings, phenomena, and moods. Like Tyutchev, Bunin is attracted by nature in its catastrophic states, in the struggle of elemental, light and dark forces. From Fet, Bunin took over the focus on depicting the elusive, mysterious and not entirely clear sensations cast by nature, contemplation of the beautiful.

One of the main stylistic tendencies in Bunin's work is the stringing of words, the selection of synonyms, synonymous phrases for an almost physiological sharpening of the reader's impressions (solution in favor of the tasks of naturalism). His poems are rather rhymed prose organized in a certain way than poetry in its classical form. Characteristics of I. Bunin's poetic detail: clear visibility, visibility, a distinct picture. Bunin's poetry is generally strict and emotionally restrained. It is extremely rare to find a lyrical hero, a lyrical "I". The immediate feeling is entrusted to the character.

In general, the poetics of Bunin the poet is characterized by:

1. preservation of the traditions of the poetry of the masters of the 19th century;

2. clarity and "accuracy" in the selection of epithets;

3. simplicity and naturalness of poetic language;

4. techniques (sound-painting, painting (color), oxymoron, “three epithets” - a technique for selecting three consecutive epithets that sufficiently characterize the image, personification, metaphor, high vocabulary of biblical quotations (for philosophical lyrics);

5.existential motives.

7. Teacher's word:

I would like to complete today's lesson on Bunin's lyrics with the poem "The day will come - I will disappear."

Reading and analysis of the poem "The day will come - I will disappear."

The day will come - I will disappear,

And this room is empty

Everything will be the same: table, bench

Yes, an image, ancient and simple.

And it will also fly

Colored butterfly in silk -

Flutter, rustle and flutter

On the blue ceiling

And so will the bottom of the sky

Look out the open window

And the sea is even blue

Beckon into your desert space.

What kind of poetry would you classify this poem as? Argument.

Philosophical, as it raises the problems of being, reveals the theme of death.

Determine the genre of the poem.

This is an elegy, since the poem is imbued with sad reflections on the transience of life.

How is the theme of death stated by Bunin?

What place do these words occupy in the composition of the poem and what does it give?

One is at the beginning of the poem (“empty”), the other is at the end (“desert”), that is, they frame it, forming a ring, which reinforces the idea of ​​the inevitability, inevitability of the end.

What other words "bind" to themselves the paronyms "empty" and "desert" at the level of phonics?

"Onst anette", "st ol", "aboutst op", "aboutst Ouch"; repetition of discordant consonantsst ” emphasizes the drama of the experiences of the lyrical hero.

Can it be argued that the pessimistic mood in the poem is dominant?

How is this idea expressed?

The second row of keywords, lexical repetition of the word "will".

Which means of expression language "work" to create an optimistic mood?

Color epithets: “colored” (butterfly), “blue” (ceiling); metaphors: "butterfly in silk", "sky bottom"; anaphora "and it will be the same ..." - they all talk about the eternal cycle of life, the infinity of the universe.

Pay attention to the syntax of the poem. Why did the author use such syntactic constructions?

The poem consists of two complex and one simple complicated sentence. The choice is explained by the fact that it contains serious, philosophical reflections on the issues of being.

Determine the size of the poem. Why did Bunin choose him?

The iambic tetrameter gave Bunin the opportunity to reflect frankly and clearly on the problems of life and death that concern everyone.

What embodiment did the traditions of Tyutchev find in the poem? The lyrical hero of Bunin, contemplating nature, dissolves in it, is convinced of its inviolability and finds peace of mind.

Express your feelings about the poem.

V . Information about homework:

1. Learn a poem by heart (optional).

V I. Summing up. Reflection.

What are the main motives of I.A. Bunin's lyrics.

What new about Bunin the poet did you discover today at the lesson?

Lesson #4-5

Subject: I.A. Bunin. Stories. " Easy breath", Clean Monday. Beauty and death, love and separation in the stories of the writer. "Sir from San Francisco" Condemnation of the lack of spirituality of existence.

Goals:

1) educational:

the formation of the moral foundations of the worldview of students;

creating conditions for involving students in active practical activities;

education of aesthetic taste, sense of morality and humanism; awakening in students the desire to think about eternal questions being;

2) educational:

acquaintancewith a variety of subjects of Bunin's prose;

teach to identify literary devices used by Bunin to reveal human psychology;

3) developing:

development of prose text analysis skills;

development of mental and speech activity, the ability to analyze, compare, logically correctly express thoughts.

Lesson type: a lesson in improving knowledge, skills and abilities.

Type of lesson: lesson - workshop.

Methodical methods: analysis of a literary text, conversation on questions.

Predicted result:

knowthe main stages of the life of the writer, the titles and plot of the main

works, history of creation, genre, plot and heroes of stories "Easy breath","Clean Monday" "Mr. from San Francisco";

be able toanalyze prose text.

Equipment : notebooks, textbooks, text of works, computer, multimedia, presentation.

During the classes:

I . Organizing time.

II .Motivation of educational activity. Goal setting.

Teacher's word.

At the last lesson, we talked about Bunin's poetry, today we will reveal part of the previous topic by talking about his prose.Features of Bunin as an artist, the originality of his place among his contemporaries and, more broadly, in Russian realism of the 19th-20th centuries. are revealed in works in which, according to him, he was occupied by "the soul of a Russian person in a deep sense, the image of the traits of the psyche of a Slav." Today we will make a journey into the creative world of I. A. Bunin, expressed through art word based on the stories "Easy Breathing", "Clean Monday", "Sir from San Francisco"

Discussion of the topic and objectives of the lesson.

III . Knowledge update.

1. Reading by heart Bunin's poems.

2. Group Bunin's poems according to the thematic principle. What poems would you classify simultaneously into two or more groups? Why?

“Word”, “Evening”, “The day will come, I will disappear ...”, “The bird has a nest, the beast has a hole ...”, “And flowers, and bumblebees, and grass, and ears ...” , “Childhood”, “In a country chair, at night, on the balcony”, “Motherland”, “Fairy Tale”, “I remember - a long winter evening ...”, “On the window, silver from frost ...”, “The Forgotten Fountain ”, “Dog”, “Still cold and cheese ...”, “Thick green spruce forest by the road...”, “Leaf fall”.

IV . Improving the knowledge, skills and abilities of students on the topic of the lesson.

Analysis of works.

1." Easy breath".

We read the first paragraph. Something struck, maybe it seemed incompatible?

Cemetery - joyful eyes, oak cross - amazingly lively eyes.

We ended up with you at the cemetery, at the grave of a young girl. What question is being asked?

What happened to the young girl? Why did she die so early?

The beginning of the story is shrouded in mystery. And the next paragraph takes us back to the past, to where the heroine was still alive.

Fragment from the film "Dedication to Love" (3 min.)

What is your first impression of Olya Meshcherskaya?

Cheerful, carefree, cheerful.

What colors does Bunin's portrait of Olya add to your vision of the heroine?

Is an antithesis being used here? For what?

Olya is contrasted with other schoolgirls, who, as if playing a memorized role, “carefully combed their hair, followed their restrained movements, unlike them, she is natural, full of life, real. “She was not afraid of anything - no ink stains on her fingers, no flushed face, no disheveled hair ...

Whom did Olya remind us of?

Natasha Rostov - emotionality, spontaneity, irrepressible thirst for life.

Unlike Natasha, Olya was already "reputed to be a beauty at the age of fifteen." We just heard what a beautiful woman means in Olya's understanding, but she highlights one attribute of beauty in particular. Which?

Easy breath.

How do you understand this expression?

Name similar-sounding words for the word "breath".

Breath, breathe, sigh, soul.

How interesting, the main thing in the beauty of a woman suddenly turns out to be the soul? Does Bunin have an indication of Olya's soul?

Living eyes are mentioned several times, "for some reason, no one was loved as much by the lower classes as her."

Explain it "for some reason".

She gives warmth and light.

What, in your opinion, is the main need of Olya's soul?

She wants to love.

So, before us is Olya Meshcherskaya, bright, airy, ready to love the whole world. How does this world accept it?

Is anyone around Olya's soul interested, what do you think? Let's turn to the episode of Olya Meshcherskaya's conversation with the head of the gymnasium. Can it be called a dialogue?

On the part of the boss, this is a conversation for show, she utters official phrases, she is “forced ... to talk about the behavior” of the schoolgirl, is more passionate about knitting, does not even raise her eyes to Olya. The boss does not ask questions, because she does not need answers. Indifference and lack of respect for the individual turn this conversation into an unbearable edifying sermon for the heroine.

So, the world is inhospitable, among the gymnasium girls Olya's beauty causes envy, the head of the gymnasium is indifferent to state of mind pupils, and for men Olya is just an object of passion.

For what purpose does the writer introduce a page from Olya's diary into the story?

The diary reveals the real thoughts and feelings of the heroine, from which we finally learn the whole truth.

The diary contains the exact date. Why do you think?

“I was so happy to be alone!” Olya writes in her diary. What meaning could she put into this phrase?

1. She felt good in her world, where beauty and harmony reigned. Self-sufficiency. “In the morning I walked in the garden, in the field, was in the forest, it seemed to me that I was alone in the whole world, and I thought as well as ever in my life. I dined alone, then I played for an hour, to the music I had the feeling that I would live without end and be as happy as anyone.
2. Alone, without Malyutin. Nothing happened yet, I was still happy, then there will be other thoughts: “I feel such disgust for him that I can’t survive this!”

Whom does Olya blame for what happened?

Formally, she names the culprit in a conversation with the head of the gymnasium, but internally she blames herself for everything: “I never thought that I was like that!”

- Can we blame Olya?

- Has Olya become different? Prove this with an example text.

Naturalness - "seemed" carefree and happy kindness - harshness, even cruelty when explaining at the station the need to love - disgust for a man and for oneself cheerfulness - devastation, thoughts of death, "now I have one way out."

- literary critic Vygotsky believed that Olya Meshcherskaya provoked a Cossack officer to shoot, that this was a veiled suicide. Imagine for a moment that the shot did not sound. How could Olya's fate have turned out?

She deprived herself of a future, took away from herself the opportunity to be loved, to feel the joy of motherhood.

-And the world? Did he feel Olya's loss? Let's look at the landscape sketches of the city.

Write down key nouns, and next to them are words that illustrate the mood.

The city is winter, snowy, sunny.

Cathedral Square - festivities, fun.

Garden - music, skating.

Olya is happy, carefree.

The city is spring, the spring field is turning gray.

Cathedral Square is dirty.

The garden is surrounded by a fence.

Ollie is no more.

What thoughts did this comparison give you?

Everything remained in place: the city, and the garden, and the Cathedral Square, life goes on, but with the departure of Olya, there was less light, less joy, less warmth.

- Why does a cool lady come to the grave of her pupil? Describe in your own words the feelings that she experiences, looking at the young laughing face of Olya.

What meaning does the final phrase of the writer give to the work? Why is the story called "Light Breath"?

This is someone's individuality, originality, uniqueness.

Conclusion. Each of us is a huge world, complex, contradictory, but infinitely interesting. Our soul is vulnerable, fragile, it, like a light breath, can “scatter in the world, in this cloudy sky, disappear forever. Appreciate human soul, take care of it, because it is exceptional and unique.

2. "Clean Monday".

-About what this story?

A story about two people who couldn't be together; story about love; a story about failed love; story about young beautiful people, but with different values; a story about love and spiritual transformation.

- Define the theme of the story. Is it just a love story?

About love and about Russia.

-How is the story built, on what principle?

The narration is given in the form of a story-memories on behalf of the hero. The complex relationship between the actors who are not named by name becomes the axis of the composition - this is He and She.

- Why is the central character not named?

Apparently, a conscious technique necessary in order to set off the aura of mystery of the beloved woman, who was not fully understood by the hero, her uniqueness. "She" does not need a name, because only she owns the hero's heart. In addition, the "unnamed" characters in a love story, for all its uniqueness, serve as a sign of a generalizing, universal meaning.

- Reread the beginning of the story, pay attention to its stylistic features.

A masterfully written landscape that prepares the reader for the perception of a joyful and special event: “liberating life”, “rushed more cheerfully”, “green stars”, “brisk”. And the expectation does not deceive us.

"... I was unspeakably happy every hour spent near her." The repeated word "everyone", like a refrain in a lyrical poem, enhances the feeling of the excited tension of the hero's feelings, the continuous hourly feeling of happiness.

- But is everything so cloudless - fascinating?

The shadow of doubt that the hero is trying to drive away: “How should all this end ... diverted conversations about our future ...”

-This is the first paragraph, the “beginning” of the story, the beginning and the end are tied together in a thin thread: this is a love story without a “future”. She is the center of the composition.

- “We were rich, healthy, young and so good-looking that in restaurants, at concerts they saw us off with their eyes ...” Why then couldn’t the heroes be together? What is their tragedy?

Comparative characteristics of heroes.

Work with text. The teacher names the subject of comparison, students give examples.

Subject of comparison

Hero

Heroine

I ... was beautiful at that time for some reasonsouthern, hot beauty, was even “indecently handsome,” as one famous actor once told me ... “The devil knows who you are,Sicilian

some kind of "... and my character was southern, lively, constantly ready for a happy smile, for a good joke.

And she hasbeauty was some kind of Indian, Persian: a swarthy amber face, magnificent and somewhat sinister in its thick black hair, softly shining like black sable fur, eyebrows, eyes black as velvet coal; captivating mouth with velvety crimson lips ...

I am fromPenza

provinces.

She is fromTver, and her grandmother fromAstrakhan.

Literary names

I brought her boxes
chocolate, new books -

Hofmannsthal, Schnitzler,

- Have you read "Fiery Angel"?(novel by V. Bryusov)

And wefor some reasonwe went to Ordynka ... but who could show us where Griboyedov lived? Who needs it?

L. Andreev, A. Bely.

… on the sofa above

for some reasonhung a portrait of a barefootTolstoy.

- Checked it out. It's so pompous that it's embarrassing to read.

She loves to quote Russian chronicle tales, she is especially admired by the Old Russian Tale of the faithful spouses Peter and Fevronia of Murom.

Somewhere on Ordynka there is a house where Griboyedov lived. Let's go look for him...

She lingered at the graves of Chekhov and Ertel.

Musical preferences

Why did you suddenly leave the concert yesterday?Chaliapin?

He does not feel the surrounding vulgarity, which is wonderfully captured by Bunin in the performance of the Tranblanc Pole, when the partner shouts out a meaningless set of phrases as a goat, and in the cheeky performance of gypsy songs by an old gypsy "with a dove-gray muzzle of a drowned man" and a gypsy "with a low forehead under the tar bangs."

- I was too pissed off. And thanyellow-haired Rus'I don't like it at all.

She kept learning the slow, somnambulistically beautiful beginning"Moonlight Sonata"-only one start.

She can listen to church hymns. The very voicing of the words of the Old Russian language will not leave her indifferent, and she will repeat them as if spellbound.

Ivan Alekseevich Bunin is a poet and prose writer, a classic of Russian literature, a wonderful master of the pictorial word.

Bunin was born in 1870 in Voronezh. He spent his childhood on the estate of his father Butyrka in the Oryol province - in central Russia, where Lermontov, Turgenev, Leskov, Leo Tolstoy were born or worked. Bunin saw himself as the literary heir of his great countrymen.

He was proud that he came from an old noble family, which gave Russia many prominent figures both in the field of public service and in the field of art. Among his ancestors - V. A. Zhukovsky, a famous poet, friend of A. S. Pushkin.

The world of his childhood was limited to the family, the estate, the village. He recalled: "Here, in the deepest silence, in the summer among the bread, approaching the very thresholds, and in the winter among the snowdrifts, my childhood passed, full of poetry, sad and peculiar."

He leaves his native home for a short time, having entered the gymnasium of the district town of Yelets, where he did not study for four years. Bunin later writes: “I grew up alone ... without peers, in my youth I didn’t have them either, and couldn’t have them: I wasn’t given the usual paths of youth - gymnasium, university. I didn’t study anywhere, I didn’t know any environment ".

A huge influence was exerted on him by his brother Julius, thirteen years older than him, the only one in the family who graduated from the university. He was serving a link in his native estate for participation in revolutionary circles. "Not even a year has passed," Julius recalled, "as he (Ivan) grew so mentally that I could talk with him almost as an equal on many topics."

From early childhood, the future poet was distinguished by phenomenal observation, memory, impressionability. Bunin wrote about himself: "My vision was such that I saw all seven stars in the Pleiades, heard the whistle of a marmot in the evening field a mile away, got drunk, smelling the smell of a lily of the valley or an old book."

From infancy, he heard poems from his mother's lips. Portraits of Zhukovsky and Pushkin in the house were considered family.

Bunin wrote his first poem at the age of eight. At the age of sixteen, his first publication appeared in print, and at 18, having left the impoverished estate, according to his mother, "with one cross on his chest," he began to get bread by literary work.

At 19, he gave the impression of a mature person, at 20 he became the author of the first book published in Orel. The poems of the collection were in many ways, however, still imperfect, they did not bring recognition and fame to the young poet. But here one topic that arouses interest to itself was designated - the theme of nature. Bunin will remain faithful to her in subsequent years, although philosophical and love lyrics will begin to enter more and more organically into his poetry.

Bunin develops his own style in line with strong classical traditions. He becomes a recognized poet, having achieved mastery primarily in landscape lyrics, because his poetry has a solid foundation - "the estate, field and forest flora of the Oryol region", native to the poet of the Central Russian strip. This region, according to the famous Soviet poet A. Tvardovsky, Bunin "perceived and absorbed, and this smell of impressions of childhood and youth goes to the artist for life."

Simultaneously with poetry, Bunin also wrote stories. He knew and loved the Russian countryside. He was imbued with respect for peasant labor from childhood and even absorbed "an extremely tempting desire to be a peasant." It is natural that the village theme becomes common in his early prose. Before his eyes, Russian peasants and small landed nobles are impoverished, ruined, the village is dying out. As his wife, V. N. Muromtseva-Bunina, later noted, his own poverty benefited him - it helped him deeply understand the nature of the Russian peasant.

And in prose Bunin continued the traditions of Russian classics. In his prose - realistic images, types of people taken from life. He does not strive for external entertainment or event-driven plots. In his stories - lyrically colored paintings, everyday sketches, musical intonations. It is clearly felt that this is the prose of a poet. In 1912, Bunin - in an interview with Moskovskaya Gazeta - said that he did not recognize "the division of fiction into poetry and prose."

Bunin traveled a lot in his life. He made his first trip to Russia, Ukraine, Crimea after working in the newspaper Orlovsky Vestnik, in his early youth. Then he will change many professions: he will work as a proofreader, statistician, librarian and even a seller in a bookstore. Numerous meetings, acquaintances, observations enrich him with new impressions. The young prose writer quickly expands the subject matter of his stories. his heroes are diverse: they are a teacher, and vulgar summer residents, and a Tolstoyan (follower of Tolstoy's teachings), and just men and women experiencing a wonderful feeling of love.

The popularity of Bunin's prose began in 1900, after the publication of the story "Antonov apples", created on the material closest to the writer village life. The reader, as it were, perceives with all his senses early autumn, the time of picking Antonov apples. The smell of Antonovka and other signs familiar to the author since childhood rural life means the triumph of life, joy, beauty. The disappearance of this smell from the noble estates dear to his heart symbolizes their inevitable ruin, extinction. Lyric Bunin with great feeling and skillfully managed to express his regret and sadness about the extinction of the nobility. According to M. Gorky, "here Bunin, like a young god, sang beautifully, juicy, sincerely."

For Bunin, in pre-revolutionary criticism, the characterization of "the singer of the impoverishment and desolation of the noble nests", manor sadness, autumn withering is fixed. True, contemporaries consider his "sad elegies" to be belated, since Bunin was born almost 10 years after the abolition of serfdom in 1861, and A. Goncharov, I. Turgenev and many others expressed their attitude to the destruction of the world of the landowner's estate much earlier. Without becoming a witness of cruel serf relations, Bunin idealizes the past and seeks to show the unity of the landowner and peasant, their involvement in their native land, national way of life, and traditions. As an objective and truthful artist, Bunin reflected the processes that took place in his contemporary life - on the eve of the first Russian revolution of 1905-1907. In this sense, the stories "Gold Bottom", "Dreams" with their anti-landlord orientation deserve attention. They were published in M. Gorky's collection "Knowledge" and were highly appreciated by Chekhov.

The most significant work of the pre-October period of Bunin's work was the story "The Village" (19910). It reflects the life of the peasants, the fate of the village people during the years of the first Russian revolution. The story was written during the closest proximity of Bunin and Gorky. The author himself explained that here he sought to draw, "except for the life of the village, and pictures in general of all Russian life."

There has never been such a sharp controversy about any other Bunin's work as about "The Village". Advanced criticism supported the writer, seeing the value and significance of the work "in truthful image life of a falling, impoverished village, in the revealing pathos of its ugly sides. "At the same time, it should be noted that Bunin could not comprehend the events from the standpoint advanced ideas of his time.

The story shocked Gorky, who heard in it "a hidden, muffled groan for his native land, an agonizing fear for her." In his opinion, Bunin forced "a broken and shattered Russian society think seriously about the strict question - to be or not to be Russia.

In general, taking significant place in the work of Bunin, works of rural themes have stood the test of time.

In the 10s, Bunin's creativity reaches its peak. According to Gorky, "he began to write prose in such a way that if they say about him: this is the best stylist of our time, there will be no exaggeration." Working a lot, Bunin was not at all inclined to a sedentary office life. One after another, he travels around Russia, and goes on trips abroad. According to the famous Soviet writer V. Kataev, Bunin was easy-going and dreamed of spending his whole life traveling around the globe light, with one or two suitcases, where the essentials would be - notebooks and paper above all.

Traveling to different countries and continents, Bunin comes into contact with the beauty of the world, the wisdom of centuries, the culture of mankind. He is occupied with philosophical, religious, moral, historical issues. The writer reflects on the global human soul, which, in his opinion, every artist should have, regardless of nationality. Now, not only Russian, but also foreign impressions serve as an impetus to his work, and on their material he creates many works that are different in theme and idea. Among them is the story "The Gentleman from San Francisco" (1915), which was included in the anthology of world literature, as well as "Brothers", "Chang's Dreams", etc.

Bunin's attitude to bourgeois civilization can be judged by his following statement: "I have always looked with true fear at any well-being, the acquisition and possession of which consumed a person, and the excess and usual baseness of this well-being aroused hatred in me."

In 1914 a world war broke out. The writer perfectly understood all its horror, senselessness and unpopularity among the people. One of his contemporaries cites his statement of those years: "The people do not want to fight, they are tired of the war, they do not understand what we are fighting for."

Bunin is outraged by the jingoistic statements of defense writers who advocated the continuation of the war to a victorious end. It is no coincidence that in 1915 the following poems of his appeared:

Silent tombs, mummies and bones -
Only the word is given life:
From the ancient darkness in the world churchyard
There are only letters.
And we have no other property!
Know how to save
Even to the best of my ability, in the days of anger and suffering
Our immortal gift is speech.

An unfavorable situation developed in Russia, including the literary situation that did not satisfy the writer. This predetermined a crisis in Bunin's work by the end of 1916. At this time, he prefers poetry. His poetry refers to the past, permeated with the sadness of memories. As far as prose is concerned, for the most part he leads diary entries, on the basis of which he creates the stories "The Last Spring", "The Last Autumn", "Swearing". They are few in number, politically topical, and anti-war in nature.

On the eve of the October Revolution, both the attitude and the humanistic orientation of creativity characterize Bunin, it would seem, as progressively thinking person. But he believed that only the nobility, with its high culture able to govern Russia. He did not believe in the mind and creativity of the masses (the story "The Village" clearly demonstrated this). Frightened, not understanding the meaning of the October Revolution and not recognizing the state of workers and peasants that arose as a result of its victory - Soviet Russia - Bunin doomed himself to voluntary exile.

The first year of emigration was for Bunin, according to one of the critics, "dumb". He reads L. Tolstoy, whom he loved all his life, and makes diary entries, realizing that he has lost everything - "people, homeland, loved ones." "Oh, how infinitely painful and sorry for that happiness," words break out with a cry of the heart when remembering the past. But at the same time, blinded by hostility to Soviet Russia, Bunin attacks everything connected with her.

The return to true creativity is slow. The stories of the first years of emigration are very diverse in their subject matter and mood, but pessimistic notes prevail in them. The story "The End" is especially shocking, where the picture of the writer's escape from Odessa abroad on the old French ship "Patras" is realistically conveyed.

Living at home, Bunin believed that he was not obliged to write all his life on Russian topics and only about Russia. In emigration, he gets an unlimited opportunity to study and take material from another life. But non-Russian themes occupied an insignificant place in the post-October period of Bunin's work. What is the matter here? According to A. Tvardovsky, Bunin, like no one else, "owes his priceless gift"Russia, his native Oryol region, its nature. While still quite young, in an article about a poet from the people, his fellow countryman Nikitin, Bunin wrote about Russian poets - these are" people firmly connected with their country, with their land, receiving power and strength from it ".

These words can be directly attributed to Bunin himself. The writer's connection with his homeland was natural and organic, like air for a person who does not notice that he is breathing. He, like Antaeus, felt powerful and felt her closeness even when he went to distant lands, knowing that he would certainly return to his homeland. And he returned and almost every year visited his native places and the village, where he was always drawn with irresistible force.

But now, being an exile, he, like no one else, suffered cruelly far from his homeland, constantly feeling the depth of the loss. And, realizing that he could not exist without Russia either as a person or as a writer, that his homeland was inseparable from him, Bunin found his own way of communication, returning to her with love.

The writer turns to the past and creates it in a transformed form. How great the writer's craving for his compatriots, how deep his love for Russia is, is evidenced by his story "Mowers", which deals with the Ryazan peasants, their inspired work, singing for the soul during haymaking on Oryol land. “The charm was that we were all children of our homeland and were all together ... And there was also a charm (no longer recognized by us then) that this homeland, this common home of ours was Russia and that only her soul could sing like the mowers sang in this birch forest that echoes every breath."

Full of poetry and love for the motherland, the story ends with the motif of the death of Russia.

In the first years of emigration, the writer resurrects in his work not only the beautiful aspects of Russian life. Bunin, as in the pre-October period of creativity (the story "Sukhodol"), is merciless towards representatives of the degenerate nobility.

Even in the pre-revolutionary period of creativity, touching on the closest topic of the village, Bunin experienced, according to the definition of literary critics, a complex feeling of "love-hate". It was caused by the imperfections of life in the difficult post-reform period.

In "The Life of Arseniev", the most remarkable work created in exile, the feeling of love prevails. This novel is defined as an artistic biography of a creative personality. Bunin explained that any work is autobiographical insofar as the author puts himself into it.

The main character of the book, Alexei Arseniev, the writer gives his own traits of an artist, creator, poet. Alexey Arseniev is endowed with a heightened sense of life, which is why he also has an increased sense of death, it is natural for him to think about the unsolved mystery of the beginning and end of existence, about the meaning of being, and, of course, about his own destiny in life.

These questions always worried Bunin, like everyone else. great artist, and he could not help but write about this in his book dedicated to the life of a creative person.

According to researchers, the "Life of Arseniev" combines everything written earlier. The themes and moods of previous works are somehow reflected in this novel.

A large place in the emigrant period of Bunin's work is occupied by the theme of love. Note that for the first time the writer turned to her back in the 90s, and in the 1900s he creates well-known works such as "Autumn", " little romance"," Dawn all night "," Mitina's love "," Sunstroke "," Ida "and many others. In the late 30s - 40s, this topic becomes the main one. During this period, 38 stories were created that made up the book "Dark alleys", which is called the encyclopedia of love.

If we compare latest book with what was written earlier, for example, in the 900s, it is impossible not to notice that the writer spoke about love differently, in a different way, deeply revealing its intimate details.

Being a deep and passionate nature, Bunin himself experienced several dramatic upheavals. And if earlier he did not dare to talk about some aspects of love, then in the emigrant period he secretly and intimately makes the property of literature. But we must keep in mind: Bunin denied rumors that he describes his own love stories op memory. All of them, according to the writer, were created by his imagination. And such is the level of Bunin's skill that the reader perceives literary characters as real faces.

Created by the imagination of the artist, the characters are completely absorbed in love. For them, this feeling is the main thing in life. We do not find the details of their profession, social status, but the spirituality, strength and sincerity of feelings are amazing. This creates an atmosphere of exclusivity, beauty and romance. And it doesn’t matter at all whether the hero himself, anticipating love, seeks and finds it, or whether she was born suddenly, striking how sunstroke. The main thing is that this feeling stuns the human soul. And what is especially noteworthy is that in Bunin the sensual and the ideal make up that fusion, the harmony that is characteristic of a normal, and not infringed, manifestation of true feeling.

Love, like a blinding flash, illuminates the souls of lovers, it highest voltage spiritual and physical strength and therefore cannot go on forever. Often, her finale leads to the death of one of the heroes, but if life goes on, she is illuminated by a great feeling until the end of her days.

In form, the stories of the collection "Dark Alleys" are the most plot-driven of everything created by the writer. Bunin himself was very fond of this book. "Dark Alleys" I consider, perhaps, my best book in terms of conciseness, liveliness and, in general, literary skill," he wrote.

33 years, about half of his creative life, until his death in 1953, Bunin spent in France, living and working away from his beloved Russia. During the Second World War, remaining on the French soil occupied by the Nazis, he rejected all their proposals for cooperation, followed the events on the Eastern Front with excitement and rejoiced at the victories of the Soviet people.

With his thoughts and soul, he aspired to Russia, as evidenced by a letter to his old friend Teleshov, where Bunin admitted: "I really want to go home." the last years of the old writer's life were overshadowed by a particularly acute need: there was always a lack of money for treatment, an apartment, paying taxes, and debts. But the indefatigable worker and ascetic of the writer's craft experienced a special melancholy and hopelessness at the thought that his books, useless to anyone, would gather dust on the bookshelves. He had reason to doubt, because during his lifetime the writer did not receive great fame, although he was not bypassed with high honors (assigning the title of academician of the Imperial Academy of Sciences in 1909, awarding the Nobel Prize in 1933). However, his works were published abroad infrequently, only in hundreds of copies, and were known to the narrowest circle of readers.

But Bunin's fears of oblivion turned out to be in vain. Nowadays, in the USSR, Bunin's books are published in huge circulations, up to millions, his work has received recognition from the widest readership. (...) Bunin's work returned to the writer's homeland, because its subject, in the words of the author himself, is "eternal, forever the same love of a man and a woman, a child and a mother, the eternal sorrows and joys of a person, the secret of his birth, existence and death ".

N. F. Kargina

Published according to the edition: I. A. Bunin. And there is my trace in the world... Moscow, Russian language, 1989

In his work, especially in such works as The Village, The Gentleman from San Francisco, Mitina's Love, The Life of Arseniev, Bunin achieves a high degree of artistic perfection. His prose flows freely like a crystal clear stream. It's nice to comprehend Bunin's artistic "magic" of the harmonious fusion of form and content, revealing the inner world of a person and always seeing landscapes in a new way. In this perfect harmony there is an internal dynamics that communicates some special inconspicuous ease of transitions from thoughts to landscape, from landscape to the details of everyday life, from everyday life to generalizations, reflections about oneself.

Like the best representatives of Russian literature, Bunin achieves organic connection landscape with all other elements of artistic fabric.

Bunin's pictures of nature and the material world are accurate and magical, like, say, Gogol's, but their accuracy and magic belong only to Bunin. Bunin's accuracy is made up of the smallest, extraordinarily sharply seen details, and his magic is without "evil spirits", fairy tale motifs are not woven into it. From Pushkin and Gogol, Bunin took only a "magic" formula for an amazing synthesis of the realistic and the magical.

In Bunin's painting, longing for the unknown, the search for other distances, the anxiety of expectation were organically fused. Along with purely pictorial techniques, the author makes extensive use of subjective sensations, and therefore in his landscapes one can hear gentle sadness, then anxiety before the mighty forces of nature, before what must happen and over which man has no power. Painting, Bunin invariably weaves his feelings with the painted pictures.

In the quoted preface to Bunin's one-volume book, Paustovsky cites very interesting passages from the notes made by Bunin's nephew, Pusheshnikov, when he spent a long time visiting the writer in Capri and had conversations with him about creativity. Bunin said, recalls Pusheshnikov, that when he, a fine artist, began to write about something, first of all it was necessary to "find the sound." “As soon as I found it, everything else comes by itself,” Bunin claimed.

It is very likely that the "sound" was only the first impulse, followed by one or another combination of sounds heard in the bosom of nature, whether it was a song, a playing on musical instrument. Everyone knows how powerfully music evokes memories associated with sensations, impressions, experiences of the past. But for a poet, an artist, sounds undoubtedly evoke a fuller and richer picture.

The sound aroused inspiration, but it was far from always a kind of prelude. His picture is built by the logic of movement, the rhythm of nature itself. This is especially evident in paintings that convey the change of weather, the transition from calm to storm, and vice versa.

Chekhov's description of the storm differs significantly from Tolstoy's and Bunin's. Chekhov's main artistic element is sound. He refuses to paint, recreating the picture in black and white. Chekhov does not touch on those changes in color that produce a flash from "dazzlingly caustic" light. Even the flash of light itself is devoid of color. Chekhov does not want to add anything to the sound symphony of thunder.

Tolstoy's description of a thunderstorm rests on a different principle. great writer seeks to convey the rapidly changing changes of the storm, its formidable grandeur in a combination of sound, color, light and movement. In the choice of colors, he is rather stingy: “dark purple cloud”, “purple cloud background”, even flashes of lightning are given without colors. And this is because Tolstoy attaches great importance to light, to changes in lighting during a storm. We unusually visualize how the leaves become "white-cloudy" color. We have seen this more than once, and in the unnaturalness, deceitfulness of this shade there is something terrible, gloomy.

Beautiful in Tolstoy is the image of a huge spiral line, ascending somewhere to heaven, as if uniting heaven and earth in an unheard-of powerful perturbation, reminiscent of retribution. A similar image completes Bunin's description of the storm. He definitely has a vision of the apocalypse, the immensity of the heavenly depths. But here, as in the entire description of a thunderstorm, Bunin's painting is thicker. "Fierce awe and horror", "furious rumble", "hellish darkness" - these are these definitions, which in big picture the storms do not dissonate in any way and are, as it were, softened by such wonderful finds as “bull rain” (the local word “bull” does not need explanation) or “mountains of clouds shining with copper Himalayas”.

The visions of a thunderstorm in Tolstoy and Bunin are close in general impression, by use artistic elements. In Tolstoy: colors, light, sounds, movements and the rhythm of a thunderstorm. The same is with Bunin, but meanwhile, how differently they use these artistic elements. Tolstoy's storm is one-color with a lighting effect. In Bunin, it is multi-colored. There are “red flashes” and “pink and white lightning”, and “copper clouds”, and “hot snakes”. Tolstoy not only talks about the movement of a thunderstorm, but also conveys its rhythm in detail. He notes: “Suddenly the aspen grove trembled”, and then: “The leaves ... rustle and spin”, “... the tops of large birches begin to sway, and bunches of dry grass fly across the road.” Tolstoy especially carefully recreates the growth of the storm. Here is the restless flight of swallows, here are jackdaws flying somehow sideways with disheveled wings, here are the edges of the leather apron of the chaise, which begin to beat against the body. Bunin operates only with the elements of the element itself. Bunin is excited by the terrible and colorful splendor of the storm, and he refuses additional accessories, focusing all his attention on the colors, sounds and movement of the elements themselves.

If we exclude anthropomorphism, which is very characteristic of Gogol, then Bunin's thunderstorm is closest to Gogol's. Here are a few lines from “Terrible Revenge”: “When the blue clouds go mountains across the sky, the black forest staggers to the root, the oaks crackle and lightning, breaking between the clouds, will illuminate the whole world at once - then the Dnieper is terrible! The water hills rumble, hitting the mountains, and with a gleam and a groan they run back and cry and flood into the distance. In terms of the power of expression, the density of images, the construction of the phrase on Bunin's panorama of a thunderstorm, Gogol's influence is most noticeable. With all the variety of colors in "Evenings on a Farm near Dikanka", and in particular "Terrible Revenge", Bunin's palette of colors in "Arseniev's Life" is much more diverse. Gogol prefers somewhat muted tones. In the panorama of his storm "blue clouds", "black forest", "silver jet".

With regard to color, colors, Bunin introduces something new, completely his own. He did not follow here either Gogol or Chekhov, whose colors are even darker than those of Gogol. The Chekhov storm is completely “black and white”, which creates a single and strong contrast in it, gives it a special relief. For the same purpose of relief, Chekhov humanizes nature even more than Gogol. Here is Chekhov's sky just before the storm: "This tattered, disheveled appearance of the cloud gave it some kind of drunken, mischievous expression." And in another place: “The blackness in the sky opened its mouth and breathed white fire ...” And then follows a kind of “mystery” linking “witchcraft” images of nature and man.

Chekhovskiy Yegorushka sees during a thunderstorm three huge giants with long peaks, which are sometimes illuminated by lightning. At first, you might think that the boy takes trees or shadows from something for giants. It turns out that this optical illusion, created by the play of chiaroscuro, and behind the cart are ordinary peasants with iron pitchforks on their shoulders. Such images and techniques are completely alien to Bunin. For him, the combination of the real with the "witchcraft" is of a different nature. His "witchcraft" in a special poeticization native nature, in poeticization, evoking moods of longing, striving for loneliness, a tendency to lyrical reflections alone with oneself. And all this, taken together, again leads to poetic, composed of many changes and details, "magic" pictures. Pictures of nature, created by Bunin, can be likened to those infinitely varied and always new patterns that are obtained by rotating a kaleidoscope. And the multi-colored pebbles located in these patterns are innumerable details of everything that exists in nature, seen by the artist's unusually sharpened gaze.

The thunderstorm pictures discussed above by Tolstoy, Gogol, Chekhov and Bunin, naturally, do not exist in isolation from the rest of the narrative. They are not self-made and are designed to explain and supplement the ideological and ethical side of the works. It is very interesting to compare the connections between the pictures of a thunderstorm and the feelings, ideas that these pictures are designed to complement artistically.

Tolstoy's chapter describing the storm is called "Thunderstorm". It would seem that he gives the revelry of the elements an independent meaning. In reality, this is not so. The storm had not yet subsided, and “anxious feelings of longing and fear” did not subside in the soul of the teenager. And it was precisely in those moments that he saw the most unfortunate creature in the world, a kind of miserable likeness of a man - a crippled beggar with a swollen face, a red stump instead of a hand. This creature rises from under the bridge on crooked trembling legs, stretches a stump into the cart and, crossing himself, bowing from the waist, asks in a painful voice for alms "for Christ's sake."

That this comparison is not accidental, that the anguish and horror caused by a thunderstorm are aggravated for a certain purpose by the sight of a beggar, the further description testifies. The storm, before subsiding, brings down the last and most powerful thunderclaps on the travelers, the downpour pours like a bucket, and the beggar in rags soaked to the skin, swaying from the wind, watches the fall of the copper penny, which was thrown to him from the britzka.

Is it necessary to say that the storm in Boyhood prepares a picture of the disaster of the people, personified in the woeful guise of a crippled beggar?

Gogol's panoramas of the quiet and stormy Dnieper are constantly linked with the whole course of life of the Ukrainian people. And the image of the Dnieper, violent in bad weather, is followed by the phrase: “This is how the old mother of a Cossack is killed, escorting her son to the army. She, sobbing, runs after him, grabs him by the stirrup, catches the bit, and breaks her hands over him, and bursts into burning tears.

big picture thunderstorms in Chekhov's "Steppe" are no less closely than in Gogol's, linked to the life of the people, helping to reveal the characters of the peasants: Dymov, Panteley, Emelyan, the relationship between them.

Not the same with Bunin. After the symphony of raging nature, beautifully played by him, amazing words come: “On me, lying on cold bricks and covered with all the ropes and coats that the peasants could give me, there was no living thread left in five minutes. What was this hell and flood to me! I was already in the full power of my new love ... ".

So, not a thought, not a word about his fellow villagers, the Baturin peasants, who took him to their cart, carefully wrapped him up. And the attention of young Arseniev is completely controlled by a girl with a “thin and clean” face, the daughter of the young lady Bibikova, whom he accidentally and briefly saw that day.

This should not be attributed to some kind of anti-democratism, especially intensified in emigration. In the first period of his work, when he wrote many wonderful stories about the people, and in the last, when he remembered his lost homeland with pain, the peasant remained for him a particle of it. It's all about something else, the principle of knowing reality exclusively through purely personal, through the lyrics of the feelings and sensations of a lonely person.

Having experienced happy hours in life, Bunin's heroes come to this state of loneliness, melancholy, memories. And can it be otherwise for people who, from Bunin’s point of view, live in an uncomfortable and imperfect world, or are turned off from the struggle and have lost hope of renewing life so much that they create a fictional world “for themselves” or find another lonely person to to taste ephemeral happiness with him, because they know how short it is, that life is lived in a fruitless search for that happiness that does not exist and cannot exist.

And yet we pass by the generalizations of this sad thinker, who does not believe in the triumph of goodness. We willingly forgive him this, since he himself creates the beautiful, the good, the eternal. After all, Bunin's man is not bad, but confused before life. And his premonition of achieving happiness in our time of great change is perceived as a contribution to the renewal of life.

The writer gives us his wonderful talent, creating that beauty, without which the new man of our day cannot be aesthetically educated.

In terms of musicality, Bunin's stories stand next to the geniuses of Russian literature. It has that special smoothness, that unique tonality of warmth and trusting disposition towards the reader, who claim that it was written by Bunin, and not by anyone else, and written so that a person could know himself more deeply, get in touch with the beautiful in life.

The rhythmic organization of Bunin's prose is a special phenomenon. This is not the kind of rhythm that creates importunate pathos, a screechingly rising tone, rhythmic periods in rapprochement with blank verse. Bunin's prose flows smoothly, a little slowly, and this quality, combined with the seeming simplicity, but in fact the filigree sharpness of each phrase, creates a gently lulling sound.

Bunin equally accepts both artistic creativity and Tolstoy's religion.

Bunin's love for Tolstoy unites him with Chekhov. Speaking about the work of Chekhov, Bunin also highlights a cheerful, moral principle. At the same time, he deeply appreciates in the writer's and human appearance of Chekhov his irreconcilable hostility to falsehood, literaryism, and posturing.

At the best time of his work, associated with participation in Gorky's "Knowledge" and friendship with Gorky, Bunin highly appreciated the work and literary and social activities of the proletarian writer. During these years, they often meet, correspond, express mutual respect and approval to each other. So, in a letter to Gorky, who was then in Italy, Bunin wrote in 1911: “I wanted to go to Capri terribly, your words, your golden heart touched to a pinching in the eyes. Oh, dear, I love you very much and honor you!” While on Gorky's Capri, Bunin frankly shared his views on contemporary literature, and very much in these views brought him closer to Gorky. The consonance of literary-critical positions is also characteristic of their printed speeches. Bunin's speech cited above can be compared with Gorky's articles directed against modernist literature "The Destruction of Personality", "On Modernity", "On Cynicism".

However, after the October Revolution, when the writers found themselves on opposite sides of the barricades, Bunin changed his attitude towards Gorky and even cast a shadow on his past relationship with him. So, in his “testament”, written in 1942, it is said: “I almost always wrote letters badly, carelessly, hastily, and not always in accordance with what I felt, due to various circumstances. (One of many examples is letters to Gorky...)”.

Bunin retroactively scolds his colleagues in "Knowledge" - writers of a democratic direction, and Kuprin, once close friend, reproaches that he is allegedly inherent in "cheap ideology, the desire to keep up with the spirit of his time in the sense of accusation and civic nobility." In his "Memoirs" he presents Russian society in a gloomy light. democratic literature pre-revolutionary years. In the light of the new position, Bunin is revising his old views, and only his attitude towards the decadents has remained unchanged.

In his emigrant years, Bunin spoke with particular sarcasm about the writers who crossed the line of the revolution and accepted it - about Mayakovsky, Blok, Yesenin, Alexei Tolstoy. IN memoir essay The “Third Tolstoy,” he irritably, without any semblance of objectivity, “remembers” Tolstoy, as if taking revenge on him for his decisive break with emigration and active participation in the life of the Soviet country.

Only during the years of the Second World War was there an evolution in Bunin's position in relation to Soviet literature. He praised the work of a number Soviet writers. His attitude towards the USSR also changed - he sympathized with the Soviet Army, which fought against fascism; and shortly before his death he became a Soviet citizen.

Bunin died on the thirty-sixth anniversary of the October Revolution, on the night of November 8, 1953.

“I didn’t have the strength, already being a Soviet citizen, to return home to Ivan Bunin, the Russian classic of the turn of the century, who remained a realist even in the prose of the time when the fashion for decadence dominated. In my opinion, Bunin should not be alienated from the history of Russian literature, and everything valuable from his work should belong to the reader.

In these words, Fedin pays tribute to the remarkable Russian writer, Nobel Prize winner Ivan Alekseevich Bunin.