What artistic means does Bunin use when creating a cuckoo. The originality of the Bunin landscape

Municipal educational institution Secondary Educational School No. 19 named after the Hero of Russia Panov

Exam abstract

on literature

on the topic: The role of landscape in the works of I.A. Bunin

Smolensk 2007

Introduction

I don’t need rich nature, or magnificent composition, or effective lighting, no miracles, give me at least a dirty puddle, so that there is truth in it, poetry, and there can be poetry in everything - this is the artist’s business. Tretyakov from a letter to the artist A.G. Goravsky.

The end of the 20th and the beginning of the 21st century is a time of severe trials for man and mankind. We are prisoners of modern civilization. Our life takes place in shaky cities, among concrete houses, asphalt and smoke. We fall asleep and wake up to the roar of cars. A modern child looks at a bird with surprise, and sees flowers only standing in a festive vase. My generation does not know how nature was seen in the last century. But we can imagine it thanks to the captivating landscapes of J.S. Turgenev, L.N. Tolstoy, I.A. Bunin and others. They form in our minds love and respect for the native Russian nature. Writers very often in their works refer to the description of the landscape. The landscape helps the author to tell about the place and time of the depicted events. Landscape is one of the content elements literary work, which performs many functions depending on the style of the author, the literary movement (trend) with which he is associated, the method of the writer, as well as on the type and genre of the work. For example, a romantic landscape has its own characteristics: it serves as one of the means of creating an unusual, sometimes fantastic world, opposed to reality, and the abundance of colors makes the landscape also emotional (hence the exclusivity of its details and images, often fictional by the artist). Such a landscape usually corresponds to the nature of a romantic hero - suffering, melancholy - dreamy or restless, rebellious, struggling, it reflects one of the central themes of romanticism - the discord between a dream and life itself, symbolizes mental upheavals, sets off the mood of the characters. The landscape can create an emotional background against which the action unfolds. It can act as one of the conditions that determine the life and life of a person, that is, as a place for a person to apply his labor. And in this sense, nature and man are inseparable, perceived as a single whole. It is no coincidence that M.M. Prishvin emphasized that “man is a part of nature, he is forced to obey its laws, it is in it that Homo sapiens finds joy, the meaning and purpose of existence, here his spiritual and physical capabilities are revealed.” The landscape, as part of nature, can emphasize a certain state of mind of the hero, set off one or another feature of his character by recreating consonant or contrasting pictures of nature. Through the landscape, they express their point of view on events, as well as their attitude to nature, the heroes of the work. Landscapes can be urban, rural, historical, military and others, and they all help to convey the state, mood of a person and imagine the environment where events are taking place. WITH landscape descriptions in the author, first of all, the motives of life and death, the change of generations, bondage and freedom are inextricably linked. The description of nature in Bunin's works is very expressive. This can be explained by the fact that I.A. Bunin considered figurativeness (inextricably linked with figurativeness) hallmark a truly artistic work: “.. how can one manage without sounds in music, without colors and without images ... of objects in painting, and in literature without a word, things, as you know, are not completely incorporeal?” - wrote I.A. Bunin. This is very old, but really, not so stupid: "The writer thinks in images." The purpose of my essay was: 1) to reveal the essence of the landscape in the works of Bunin; 2) to find out how the landscape helps creative people to reflect their thoughts, feelings, state of the characters. On the example of the works of the famous Russian writer I.A. Bunin, I tried to find out how the landscape can convey the state environment. The purpose of my abstract is:

1)on the example of the works of I. Bunin, to show what an important role landscape plays in his works;

understand how the landscape affects the disclosure of the theme of the work. For my work, I used: Textbook of literature for grade 11 (part 1), edited by Kuznetsov - Moscow, "Enlightenment" 1994, Reader of Russian literature for grade 11 (part 1), edited by Barannikov - Moscow, "Enlightenment" 1993. , Textbook of Russian literature of the twentieth century, edited by Agenosov (part 1), - Moscow, "Bustbust" 1996, "Russian literature of the twentieth century", edited by G. Merkin, Smolensk 1990. (List of references attached)

I read the works of I. Bunin - "Mitina's Love", "Natalie", "Cold Autumn", "The Gentleman from San Francisco". Poems - “Leaf fall”, “Thick green spruce forest by the road…” I chose the topic “The Role of Landscape in Bunin’s Works” because I liked the works of Ivan Alekseevich (his poems and stories) for their sincerity and the way the writer reveals the beauty of Russian nature in them. When writing the abstract, I encountered difficulties: Ivan Alekseevich Bunin began to be considered in our literature relatively recently, so there was very little material related to my topic. I had to read many of his poems and stories, analyze and consider in detail his works, especially those passages that describe landscapes. II. Theoretical part.

In 1933, Ivan Bunin became the first Russian writer to be awarded the Nobel Prize. However, in the Soviet Union for 25 years his name and work remained banned. The main reason for Bunin's excommunication from the Soviet reader was his uncompromising publications and "Cursed Days" - one of the most bitter, furious and poignant books about the Russian revolution. Bunin did not accept the revolution, he was expelled from Russia, as many considered his work unworthy.

In literature, Bunin began to be considered recently, there are few statements of critics in his work, and those who wrote about him discovered a lot of new things in his work, something that was not available to other writers.

“Take Bunin out of Russian literature, and it will fade, lose its living iridescent brilliance and starry radiance, his lonely wandering soul ...” M. Gorky

“I thought many times, would we have managed without Bunin in literature? But, having read many of his works, I can give the exact answer - "no"! Now I am sure that it is unlikely that literature could have been so transformed as with the advent of Bunin! He described what other writers did not notice in life ... "R. Grigoriev

Critics noted the work of Ivan Alekseevich "Village". For example, critic S.A. Petrov noted in this work: “... through this work, a picture of the life of peasants, bourgeois and nobility is drawn. It seems to me that Bunin described very colorfully what Tolstoy and Turgenev did not do. Nowhere, as in this work, the life of nobles and peasants is shown so closely. The life and soul of the Russian nobles are the same as those of the peasant; all difference is determined only by the material superiority of the nobility. Bunin puts peasants and nobles on the same level - this means that Bunin did not elevate or lower anyone, everyone is equal, "equal before death." But death is equally terrible in its inevitability. By the way, when this most famous of Bunin's stories is interpreted only in the sense of a denunciation of capitalism and a symbolic foreshadowing of its death, then, as it were, they lose sight of the fact that for the author the idea of ​​the millionaire's susceptibility to a common end, the insignificance and ephemeral nature of his power before face the same total for all mortals. It is hardly possible to name at least one work by Bunin that would immediately evoke such a rare and unanimous recognition of readers and critics as the famous "The Gentleman from San Francisco", the creation of which dates back to the autumn of 1915.

“This story can be called a “summary of the novel”, the phenomena and facts of life are so closely packed in it. Bunin tells about the life of people to whom money, it would seem, gave all the blessings that exist in the world of joy. Ironically naming “declaration of war”, “welfare of hotels” and “style of tuxedos” among the “benefits”, Bunin pronounced a harsh sentence on the arbiters of the destinies of the world. Indeed, for millionaires, aristocrats and other powerful people of this world, an elegant suit, profit from wars or from the operation of hotels, is a phenomenon of one kind, providing them with a beautiful and well-fed life at the expense of those who must work for them and die in order for them to live sweetly . The main motive immediately appears in the story: what kind of life is this for the “strong” and rich of this world, for the sake of which the interests of the rest of humanity are sacrificed? A. Volkov “... Critics of different times highly appreciated Bunin's story “The Gentleman from San Francisco”. A.S. Serafimovich called it “a wonderful thing ... not only in terms of artistic performance, but also in terms of social truth” because in this work “the life, thoughts, aspirations and end of a person from the bourgeois class who knows only one thing - to make money, is written amazingly vividly, truthfully, artistically , convincingly.

The story "The Gentleman from San Francisco" was highly appreciated by Gorky.

“In my very vain and very difficult life, you may be, and even probably the best, the most significant,” he wrote to Bunin. “If you only knew with what trepidation I read The Man from San Francisco. Among critics, “The Gentleman from San Francisco” caused a lot of emotions and controversy, but no matter how good or bad this work is, it will remain one of the greatest works of Ivan Alekseevich, and will continue to be a success with readers.

"Dark alleys" - the story of I.A. Bunin is named, which in turn gave the name to the whole book of his stories, published in New York in 1943 and marked by a strong sense of longing for Russia. Why was this name so dear to Bunin and why did he associate "dark alleys" with Russia? Closely lined with lindens, relatively narrow alleys were one of the most characteristic features of Russian gardens, especially estates, and made up their beauty. Nowhere in Europe were lindens planted as a “wall” as they were planted in Russia, and these “narrow” alleys of linden trees became, in a certain sense, a symbol for Bunin. D.S. Likhachev

In the face of love and death, according to Bunin, the social, class, property lines that separate people are erased by themselves - everyone is equal before them.

“Bunin is by time the last of the classics of Russian literature, whose experience we have no right to forget. Bunin's pen is the closest example to us in time of the artist's exactingness, the noble conciseness of Russian literary writing, clarity and high simplicity, alien to the small-scale tricks of form for the sake of form itself.

Bunin is a strict and serious artist, focused on his favorite motives and thoughts, each time solving a certain problem for himself, and not coming to the reader with ready-made and lightweight constructions of semblances of life ... "A.T. Tvardovsky

But the critics were not happy with Bunin's Sukhodol. Here are the statements of some of them. “The old aristocratic nests, which seemed to us poetic monuments of a dying culture, which we so generously endowed with all the beauty and nobility of feudal chivalry, appeared in Bunin’s story in an unusual, repulsive and disgusting form ... Bunin wanted to take a sober look at Sukhodol. He spared no one, didn’t shut up anything ... He captured an entire era strongly and vividly, showing life as it was, without any preconceived notions and embellishments. R. Grigoriev. “This is one of the most terrible Russian books, there is something in it from the funeral liturgy. And in the author's lyricism one can hear the anger and contempt of the descendants and ancestors who tore him off the earth, infecting him with an invincible attraction to it. In Sukhodol, Bunin, as a young priest, with undermined faith in God, served a memorial service for the deceased class and, despite his anger, despite his contempt for the powerless deceased, nevertheless served with great heartfelt pity for them. "Sukhodol" is a picture of the decay, degeneration of the landowner's estate, - L. Kozlovsky wrote in Russky Vedomosti (1912) ... - Is the Russian village really a village of degenerate and dying savages? - a foreigner would ask after reading the book by I. Bunin ... Why does he (Bunin) see in it only ugly, sick and decaying? - the critic asks irritably and gives an absurd answer: “Bunin is a painter whose eyes are looking for bright spots and certain outlines. The ugly is brighter, more prominent in our life. Our author captures and sketches what catches the eye: a huge ugly naked peasant foot with a twisted toe ... an old woman with a leaky eye ... This does not make up a picture folk life. And "Sukhodol" is not a picture of Rus', although it contains everything that our author is talking about, but all these individual strokes, correctly sketched, still need to be combined into big picture life." "Dry Valley", conceived as a large canvas in three parts, was not continued. The theme of the Russian national character, in all its tragedy (of both primitive and wealthy natures), was dispersed throughout the stories of 1912-1916, which in their totality give an attempt to comprehend the social and moral roots of life. “Bunin is by time the last of the classics of Russian literature, whose experience we have no right to forget. Bunin's pen is the closest example to us in time of the artist's exactingness, the noble conciseness of Russian literary writing, clarity and high simplicity, alien to the small-scale tricks of form for the sake of form itself. Bunin is a strict and serious artist, focused on his favorite motives and thoughts, each time solving a certain problem for himself, and not coming to the reader with ready-made and lightweight constructions of semblances of life ... "A.T. Tvardovsky Ivan Alekseevich Bunin occupies an important place in Russian literature.

He is one of the largest representatives of critical realism of the twentieth century. Feeling the turning point of life, the death of the old noble culture largely determined the main content of the writer's works. The attitude of critics towards Ivan Alekseevich Bunin was different, but in one their opinion was similar: they could not and cannot imagine how much poorer Russian literature would be without the works of Ivan Alekseevich, without his vivid depiction of rural life and landscapes of Russian nature. III. Practical part.

1. Biography of I.A. Bunin

No, it's not the landscape that attracts me, It's not the colors I'm trying to notice, But what shines in these colors is Love and the joy of being. I. A. Bunin Ivan Alekseevich Bunin was born on October 23, 1870 in Voronezh, on Dvoryanskaya Street. The impoverished landowners Bunins belonged to a noble family, among their ancestors - V.A. Zhukovsky and poetess Anna Bunina. In Voronezh, the Bunins appeared three years before the birth of Vanya, to teach their eldest sons: Yulia (13 years old) and Evgeny (12 years old). Julius was extremely capable of languages ​​and mathematics, he studied brilliantly; Eugene studied poorly, or rather, did not study at all, he left the gymnasium early. He was a gifted artist, but in those years he was not interested in painting, he chased pigeons more. As for the youngest, his mother, Lyudmila Alexandrovna, always said that "Vanya was different from the rest of the children from birth," that she always knew that he was "special and no one has such a soul as his." In 1874, the Bunins decided to move from the city to the village to the Butyrki farm, in the Yelets district of the Oryol province, to the last estate of the family. That spring Julius graduated from the gymnasium with a gold medal and had to leave for Moscow in the autumn to enter the mathematical faculty of the university.

In the village, little Vanya “heard enough” of songs and fairy tales from his mother and courtyards. Memories of childhood - from the age of seven, as Bunin wrote - are connected with him "with the field, with peasant huts" and their inhabitants. He spent whole days disappearing in the nearby villages, grazing cattle with peasant children, making friends with some of them. Bunin recalled how he and his sister Masha ate brown bread, radishes and "rough and bumpy" cucumbers, and at this meal, "without realizing it, they partook of the earth itself, of all that sensitive, material thing from which the world was created." Even then, with a rare power of perception, he felt, by his own admission, "the divine splendor of the world" - the main motive of his work. It was at this age that an artistic perception of life was revealed in him, which, in particular, was expressed in the ability to depict people with facial expressions and gestures; He was already a talented storyteller. At the age of eight he wrote his first poem. In the eleventh year he entered the Yelets gymnasium. At first he studied well, everything was easy: he could memorize a whole page poem from one reading, if it interested him. But from year to year the teaching went worse. In the gymnasium, he wrote poetry, imitating Lermontov, Pushkin. He was not attracted by what is usually read at this age, but read, as he said, "anything." He did not graduate from the gymnasium, later he studied independently under the guidance of his elder brother Yuliy Alekseevich, a candidate of the university. In the autumn of 1889, he began his work in the editorial office of the newspaper " Orlovsky messenger”, often he was the actual editor; published in it his stories, poems, literary-critical articles and notes in the permanent section "Literature and Printing". Zhil Bunin literary work. The father went bankrupt in 1890, sold the estate and the estate. There was nowhere for the young poet to wait for help. In the editorial office, Bunin met Varvara Vladimirovna Pashchenko, the daughter of the Yelets doctor, who worked as a proofreader. His passionate love for her was marred at times by quarrels. In 1891, she married, but their marriage was not legalized, they lived without getting married, the father and mother did not want to marry their daughter to a poor poet. Bunin's youthful novel formed the plot basis of the fifth book of Arseniev's Life, which was published separately under the title Lika. Many imagine Ivan Alekseevich dry and cold. V. N. Muromtseva-Bunina said: “True, sometimes he wanted to seem like that - he was a first-class actor, but whoever did not know him to the end cannot even imagine what kind of tenderness his soul is capable of. He was one of those who did not reveal himself to everyone, he was distinguished by the great strangeness of his nature. It is hardly possible to name another Russian writer who, with such self-forgetfulness, so impetuously expressed his feeling of love, as he did in his letters to Varvara Pashchenko, combining in his dreams the image of the absolutely beautiful that he found in nature, in poetry, music. At the end of August 1892, Bunin and Pashchenko moved to Poltava, where Bunin began to cooperate with the editors of the Poltava Provincial Gazette, in which he published his works. Bunin also collaborated with the Kievlyanin newspaper. Now Bunin's poems and prose began to appear more often in "thick" magazines - "Bulletin of Europe", "God's World", "Russian Wealth" and attracted the attention of luminaries of literary criticism. 1895 is a turning point in Bunin's life: after the "flight" of Pashchenko, who left Ivan Alekseevich and married his friend. In January, he left the service in Poltava and went to St. Petersburg, and then to Moscow. A big literary evening in St. Petersburg encouraged him, where he read the story "To the End of the World." In Moscow, Bunin met the leader of the Symbolists, V.Ya. Bryusov, A.P. Chekhov, V.G. Korolenko, A.I. Kuprin. In 1898 Ivan Alekseevich left for Odessa. There he married Anna Nikolaevna Tsakni, but family life did not go well, Bunin and Anna Nikolaevna separated, their son Kolya died. The 1900s were a new frontier in Bunin's life. Repeated travels through the countries of Europe and to the East have widely spread the world before his eyes, so greedy for new impressions. And in the literature of the beginning decade, with the release of new books, he won recognition as one of best writers of his time. At the beginning of 1901, a collection of poems "Leaf Fall" was published, which caused numerous reviews from critics. Kuprin wrote about the "rare artistic subtlety" in conveying mood. Blok for "Falling Leaves" and other poems recognized Bunin's right to "one of the main places" among modern Russian poetry. "Falling Leaves" and the translation of "The Song of Hiawatha" were awarded the Pushkin Prize by the Russian Academy of Sciences, awarded to Bunin on October 19, 1903. Since 1902, Bunin's collected works began to be published in volumes by Gorky's publishing house "Knowledge". And again travel, and so all his life he was attracted by various cities and countries. Bunin did not accept the revolution of 1905, he wrote down his impressions of it in his diary: "some kind of terrible delight, a feeling of a great event" (Muromtseva-Bunina V.N. Bunin's life. 1870-1906. - Moscow 1989). The fact that soon after the revolution of 1905. B. will write his best works, can not be called an accident. He sometimes spoke about his non-participation in politics, but reflected it in his artistic work.

In 1917 came the social drama of the writer, who always lived in the interests of Russia. Not understanding the October Revolution, the writer left his homeland forever in 1920. On November 4, 1906, Bunin met in Moscow Vera Nikolaevna Muromtseva, the daughter of a member of the Moscow City Council. Bunin and Muromtseva traveled all over the East. From this journey began their life together. About this journey - a cycle of stories "The Shadow of a Bird" (1907-1911). They combine all the impressions of the East: descriptions of cities, ancient ruins, monuments of art, pyramids, tombs. Bunin's prose and poetry now acquired new colors. The previous prose, as Bunin himself noted, was such that it "forced some critics to interpret" him, and his literary activity"more vivid and varied only from 1908-1909". The Academy of Sciences awarded Bunin the second Pushkin Prize in 1909 for poetry and translations of Byron; the third - also for poetry. In the same year, Bunin was elected an honorary academician. The last years of Bunin's life were also the most tragic. He was cruelly deceived in love; forced to share shelter with heavy and, apparently, mentally unhealthy freeloader; finally, as we already know, at the end of his life he came to know the hostility of emigration. But the thirst for life, the feeling that he had not yet accomplished everything, did not leave the dying writer. In the year of his death, on the night of January 27-28, 1955, Bunin enters in his diary in a changed handwriting: “Wonderful! Everything is in the past, you think about the past, and most often about the same thing in the past: about the lost, missed, happy, invaluable, about your irreparable deeds, stupid and even insane, about the insults experienced because of your weaknesses, your spinelessness, short-sightedness and lack of revenge for these insults, that he forgave a lot, a lot, was not vindictive, and still is. But the grave is about to swallow everything up.” On the night of November 7-8, 1953, Ivan Alekseevich Bunin died in Paris. On the table near the bed lay an unfinished manuscript about Chekhov. That simple and extraordinary, ordinary and terrible happened, about which Bunin, shortly before his death, wrote with cold despair: “In a very short time I will not be ...”.

2. Features of I.A. Bunin

Take Bunin out of Russian literature, and it will fade, lose its living iridescent brilliance and starry radiance, his lonely wandering soul ... M. Gorky.

The literary fate of Ivan Bunin developed extremely happily, although his literary fame, only strengthened over the years, never reached the popularity that Maxim Gorky or Leonid Andreev had at the beginning of the century. He received recognition first of all as a poet (Pushkin Prize of the Russian Academy in 1903 for the poem Falling Leaves and Translation of the Song of Gaivat. Second Pushkin Prize in 1909 and election as an honorary academician). However, Bunin declared himself as a poet at a time when Russian literature was undergoing a reassessment of values ​​and a fundamentally new direction appeared - symbolism. It was possible to accept or reject him, to be with him or against him ... Of all the major Russian poets, Bunin alone went against it. He turned out to be the only neo-realist in Russian poetry at the beginning of our century.

If at the turn of the century for Bunin's poetry landscape lyrics are most characteristic, then Bunin increasingly turns to the lyrics of a philosophical direction. The personality of the poet expands unusually, acquires the ability of the most bizarre reincarnations, finds an element of "universal". Life for Ivan Alekseevich is a journey in memories, and not only personalities, but also the memories of the family, class, humanity. Emigration became a truly tragic milestone in the biography of Bunin, who broke forever with his native Russian land, to which he ball, as rarely anyone, owes his wonderful gift and to which he, as rarely anyone, was attached "with love to the point of pain of the heart." Behind this frontier, not only the premature and inevitable decline of its creative power, but his literary name itself suffered a certain moral damage and turned into a duckweed of oblivion, although he lived for a long time and wrote a lot. The originality of Bunin is revealed in his love lyrics. Belonging to the twentieth century with its emotional structure, it is tragic, it contains a challenge and protest against the imperfection of the world and its very foundations, a lawsuit with nature and eternity in the demand for an ideal uncompromising feeling. Features of Bunin in the works of 1910, in which, according to the writer himself, he was occupied by "the soul of a Russian person in deep sense, the image of the traits of the psyche of a Slav". He is attracted by the theme of catastrophic, affecting both the general purpose of a person and the possibility of happiness and love. He is especially attracted to people who are knocked out of their usual rut, who have experienced an internal fracture, a catastrophe, up to the refusal of their “I” (“Dreams of Chang”, “Grammar of Love”, “Brothers”).

Sometimes, under the influence of a particularly heavy feeling of a break with the Motherland, Bunin came to a real thickening of time, which turned into a cloud, from where or illuminating lightning, although the horizon remained hopeless. But the thickening of time did not always lead to darkness. On the contrary, it is necessary to repeat this, Bunin began to see, looking for hope and support in Russia, which he pushed aside.

There was one problem that Bunin not only did not fear, but, on the contrary, went towards it with all his heart. He had been occupied with it for a long time, and neither the war nor the revolution could shake his attachment to it - we are talking about love.

Here, in an area full of unexpressed nuances and ambiguities, his gift found worthy use. He described love in all its states (and in emigration even more closely, more concentratedly), knew how to find it even where it does not yet exist, in anticipation, and where it barely dawns and will never come true (“Old Port”, 1927. ) and where the unrecognized languishes (Ida, 1925) or, in amazement, does not discover her past, subject to destructive time (In the Night Sea, 1923). All this was captured in new details that had not yet been given to anyone and became fresh, today's for any time. Love in the image of Bunin strikes not only with the power of artistic ingenuity, but also with its subordination to some internal laws unknown to man.

Bunin's concept of love is tragic. Moments of love, according to Bunin, become the pinnacle of a person's life. Only by falling in love can a person truly feel another person, only a feeling justifies high demands on himself and his neighbor, only a lover is able to overcome his egoism. The state of love is not fruitless for Bunin's heroes, it elevates souls. One example of an extraordinary interpretation of the theme of love is the story "Chang's Dreams" (1916). The story is written in the form of a dog's memories. The dog feels the inner devastation of the captain, his master. The image of "distant hardworking people" (Germans) appears in the story. Based on a comparison with their way of life, the writer talks about the possible ways of human happiness:

1.Labor in order to live and multiply without knowing the fullness of life;

2.Endless love, which is hardly worth devoting yourself to, since there is always the possibility of betrayal;

.The path of eternal thirst, search, in which, however, according to Bunin, there is no happiness either. The plot of the story seems to oppose the mood of the hero. Breaks through real facts Like a dog a faithful memory, when there was peace in the soul, when the captain and the dog were happy. Moments of happiness are highlighted. Chang carries the idea of ​​loyalty and gratitude. This, according to the writer, is the meaning of life that a person is looking for.

The poet from his youth lives in the world of the sweetest memories - and his childhood memories, still overshadowed by the "old lindens", still cherished by the remnants of the former landowner's contentment, and the memories of the family and his entire environment about this former contentment and beauty, goodness and harmony of life. Many years later, already in exile, Bunin forgets that the collapse of the dear world of the Russian landowner's estate took place before his eyes, long before the October Revolution.

and the Bolsheviks, to whom he addresses his accusations of destroying the "beauty of the earth", of trampling on the hereditary shrines of his childhood, his memory. Bunin's images of peasants and peasant women are endowed with such personality traits that, as happens only when in contact with real art, we forget that these are literary characters, a product of the author's imagination. With regard to the people of the peasant world in Bunin's pre-revolutionary village things, all the sympathy and genuine sympathy of the artist is on the side of the poor, exhausted by hopeless need, hunger (almost all of his village heroes, by the way, constantly want to eat, dream about food - about a loaf of bread, onions, potatoes with salt), humiliation from those in power or capital. In them, he is especially touched by humility in fate, patience and stoicism in all trials of hunger and cold, moral purity, faith in God, and simple-hearted regrets about the past. Bunin sincerely loves his village heroes, people crushed by "needy", downtrodden, muzzled, but retaining their original resignation, humility, an innate sense of the beauty of the earth, love of life, kindness, unpretentiousness. Bunin loves to portray elderly and old people who are close to him with the memory of the past, which they tend to see more from the good side, forgetting about everything bad and cruel, loved ones and their spiritual disposition, sense of nature, way of speech, much more poetic than that of young people with their urban swagger, irreverence and cynicism. The sensitivity and sharpness of Bunin's perception of the processes that took place in the village on the eve, during and after the revolution of 1905, perhaps, nowhere affects such unambiguity as in the main work of his "village cycle" - the story "Village". Death is another constant motif of Bunin's poetry. In the lyrical hero of Ivan Alekseevich, the fear of death is strong, however, in the face of death, many feel inner spiritual enlightenment, reconcile with the end, do not want to disturb their loved ones with their death (“Cricket”, “Grass”). Death in Bunin's works is an important part that helps to realize the meaning of life, how dear it is. The hero begins to think that a lot could have been avoided or at some point forgiven, but it's too late. A person remembers God, when the end has come, he begins to pray, but this is not comparable to his sins. In the works of Ivan Alekseevich, moments of prayer are very common. This suggests that Bunin was a believer, since he shows such details that, in my opinion, embellish the work.

But in Bunin's works there is a forced, tragic death. A person takes on sin just to get out of this life. For a person to be able to lay hands on himself, something incredible must happen to him. For Bunin, for example, this is unrequited love or a difficult parting that the hero cannot survive. ("Mitina's love"). Bunin is characterized by a special way of depicting the phenomena of the world and the spiritual experiences of a person by contrasting them with each other. Ivan Alekseevich, comparing man and nature, highlights the mood of the hero, and nature helps to convey these feelings and states. This brings some liveliness to the works, gives brightness. Bunin fell in love with nature before himself, before people, which he admitted in some early poems, for example, “Beyond the river, the meadows turned green ...”

Bunin's detail is characteristic, covering the appearance of an object in terms of color, taste, touch, with its colors, shapes and smells. Reading Bunin's lines, we seem to inhale the "smell of honey and autumn freshness", "the smell of melted roofs", "fresh wood", heated stoves, wind ("Autumn wind, the smell of salt ...)," ... the rye aroma of straw and chaff, "glorious the smell of books" and even the "smell" of history itself. (“It smells like wild grass, the smell of ancient times” ...). In the lyric-philosophical key in Bunin's work there are such problems: about the role of time in human life; about the relation of the person to death; about the meaning of love. Not claiming to solve social problems in his works, Bunin staged them.

In addition to nature, in Bunin's work there is another higher authority - memory, that is, a special form of time, a certain form of responsibility for the past. This is the memory of an individual about past life, the memory of the nation, the people about their roots, about antiquity, the memory of mankind about the past, about history. All these kinds of "memory" permeate the images Bunin's works, make them artistic structure. The artist tries to present the Russian character in its endless diversity, draws more and more individual "variants" of national psychology. Rus' rose in his mind, which came from a very long distance, from antiquity - the one that was buffoonish, foolish, grieved and silent for a time, endured and hardened from misfortunes, went to the aid of other peoples, believed in unspeakable, lofty, could despise wealth, honors and easy to meet death. The world that surrounded Bunin from birth, filled him with expensive and unique impressions, no longer seemed to belong only to him - it was already widely open and approved in art by artists who had been brought up by this world before Bunin. Bunin could only continue them, develop the great mastery of his predecessors to the extreme and subtlest perfection in details, particulars and shades. On this path, a lesser talent than Bunin's, almost inevitably had to "candy", refine to formalism. Bunin managed to say his word, which did not sound in the literature by repeating the words spoken before him about his native land, about the people who lived on it, about the time, which, however, could not but be different for him compared to the time reflected in the works of his teachers in literature. Bunin's indisputable and enduring artistic merit, first of all, in his development and bringing to high perfection the purely Russian and world-renowned genre of the story or short story of that free and unusually capacious composition that avoids the strict outline of the plot, arises, as it were, directly from the life observed by the artist. phenomenon or character and most often does not have a “closed” ending that puts an end to the complete resolution of the issue or problem raised. Having arisen from a living life, of course, transformed and generalized by the creative thought of the artist, these works of Russian prose in their endings tend, as it were, to merge with the same reality from which they came out and dissolve in it, leaving the reader a wide scope for their mental continuation, for thought-out, "additional investigation" of those mentioned in them human destinies, ideas and questions. Perhaps the origin of this genre can be traced from a great depth in time, but the closest classical image of it is, of course, "Notes of a Hunter". In its most developed form, this Russian form is associated with the name of Chekhov, one of the three "gods" of Bunin in literature (the first two are Pushkin and Tolstoy). Bunin, like Chekhov, in his stories and stories captivates readers by other means than external entertainment, the "mysteriousness" of the situation, the deliberate exclusivity of the characters. He suddenly draws our attention to something that is, as it were, completely ordinary, accessible to the everyday experience of our life, which we have passed by so many times without stopping and without being surprised, and would never have noted for ourselves without his, the artist, hints. And this hint does not in the least humiliate us - it appears in the form of our own discovery, joint with the artist. Bunin's ideal in the past was the time of the flourishing of noble culture, the stability of noble estate life, behind the haze of time, as it were, losing the character of cruelty, inhumanity of serfdom relations, on which all the beauty, all the poetry of that time rested. But no matter how much he loved that era, no matter how much he wanted to be born and live his life in it, being its flesh and blood, its loving son and singer, as an artist he could not manage with this world of sweet dreams alone. He belonged to his time with its ugliness, disharmony and discomfort, and few people were given such vigilance to the real features of reality, irrevocably destroying all the beauties of the world, infinitely dear to him according to the cherished family traditions and cultural patterns. Of all the values ​​​​of that passing world, the charm of nature remained, less noticeable than social life, changing in time and repeating its phenomena creating the illusion of “eternity” and perpetuity, at least at least this joy of life. Hence - a particularly heightened sense of nature and the greatest skill in depicting it in the poetry of Ivan Alekseevich. I.A. Bunin makes his readers, regardless of where they were born and raised, as if his countrymen, natives of his native places with their grain fields, blue black earth mud of spring and autumn and white, fat dust of summer steppe roads, with ravines , overgrown with oak forests, with steppe, wind-damaged willows (willows) along the ridges and village streets, with birch and linden alleys of estates, with grassy groves in the fields and quiet meadow rivers. His descriptions of the seasons with all the elusive shades of light at the junctions of day and night, at morning and evening dawns, in the garden, on the village street and in the field, have a special charm. When he takes us out into the early frosty spring morning to the courtyard of a provincial steppe estate, where ice crunches, stretched over yesterday's puddles, or into an open field, where young rye walks from edge to edge in silver-matte tides, or into a sad, thinned and blackened an autumn garden full of smells of wet leaves and stale apples, or in a smoky, spinning night blizzard along a road studded with disheveled straw sticks - all this acquires for us the naturalness and sharpness of personally experienced moments, the aching sweetness of personal memories. Like music, none of the most delightful and exciting phenomena of nature is assimilated by us, does not enter our soul from the first time, until it is revealed to us again, does not become a memory. If we are touched by the tender needle-like greens of the spring grass, or the cuckoo and the nightingale heard for the first time this year, or the thin and sad crow of young cockerels in early autumn; if we smile blissfully and bewilderedly, inhaling the smell of bird cherry, blossoming in the May cold; if the echo of a distant song in an evening summer field interrupts the structure of our usual worries and reflections, it means that all this comes to us not for the first time and evokes memories in our souls that have infinite value for us and the sweetness of a brief return to our childhood. Actually, with this ability for such instant, but memorable experiences, a person begins with his ability to love life and people, his native land and selfless readiness to do something necessary and good for them. Bunin is not just a master of unusually accurate and subtle depictions of nature. He is a great connoisseur of the “mechanism” of human memory, at any time of the year and at any of our ages, powerfully evoking in our soul hours and moments that have sunk into oblivion, giving them new and new re-existence and thereby allowing us to embrace our life on earth in its entirety. and wholeness, and not feel it only as a quick, traceless and irrevocable run through the years and decades. In terms of colors, sounds and smells, “everything that, in the words of Ivan Alekseevich, 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 . In his old age, Bunin recalled in his thoroughly autobiographical “Life of Arseniev”: “... my vision was such that I saw all seven stars in the Pleiades, heard the whistle of a groundhog in the evening field a mile away, got drunk, smelling the smell of a lily of the valley or an old book.” Truly "external feelings" as a means of penetrating comprehension of the sensory world, he was phenomenal from birth, but also extraordinarily developed from a young age by constant exercise for purely artistic purposes. To distinguish “the smell of dewy burdock from the smell of damp grass” is far from given to everyone who was born and grew up and lived his life near these burdocks and this grass, but, having heard about such a distinction, he will immediately agree that it is accurate and he himself remembers .

It would be worth talking about smells in Ivan Alekseevich Bunin's poetry and prose separately and in detail - they play an exceptional role among his other means of recognizing and depicting the world, place and time, social affiliation and the nature of the people depicted. The exceptionally “fragrant”, elegiac and thoughtful story “Antonov apples” seemed to be directly inspired by the author by the smell of these fruits of the autumn garden, lying in a desk drawer in an office with windows overlooking a noisy city street. It is full of these apple smells of "honey and autumn freshness" and the poetry of farewell to the past, from where only one can hear the old song of the inhabitants of the steppe provincial estates who took a walk "with the last money". In addition to the smells that densely fill all his works, inherent in the seasons, the rural cycle of field and other work, smells familiar to us and from the descriptions of others - melted snow, spring water, flowers, grass, foliage, arable land, hay, bread, vegetable gardens and the like - Bunin hears and remembers many more smells that are characteristic, so to speak, of historical time, era. These are the smells of tumbleweed whisks, which used to clean dresses in the old days; mold and dampness of an unheated manor house; chicken hut; sulfur matches and shag; smelly water from a water cart; vanilla and matting in the shops of the trading village; wax and cheap incense; coal smoke in the grainy steppe expanses crossed by the railway ... And beyond the exit from this rural and estate world to cities, capitals, foreign countries and distant exotic seas and lands - there are many other striking and memorable smells. This side of Bunin's expressiveness, which communicates to everything that the writer talks about, a special naturalness and conspicuousness - in all respects, from the subtly lyrical to the caustic - sarcastic - has firmly taken root and develops in our modern literature - among writers very different in nature and talent. Bunin, how can it be that none of the Russian writers, except, of course, L. Tolstoy, knows the nature of his Understeppe, sees and hears, and smells in all the elusive transitions and changes of the seasons, and garden, and field, and pond, and river, and a forest, and a ravine overgrown with bushes of oak and hazel, and a country road, and an old tract, deserted with a laying of "cast iron". Bunin is extremely specific and accurate in the details and details of the description. He will never say, for example, like some modern writers, that someone sat down or lay down to rest under a tree - he will certainly name this tree, like a bird, whose voice or flight noise will be heard in the story. He knows all the herbs, flowers, field and garden, he is a great, by the way, connoisseur of horses and their articles, beauty, temper, often gives short, memorable characteristics. All this gives his prose, and even poetry, a particularly captivating character of non-fiction, authenticity, the unfading value of an artistic testimony to the land on which he walked. But, of course, if his pictorial possibilities were limited only to these, albeit the most accurate and artistic pictures and strokes, his significance would be far from what he acquired in Russian literature. No one can replace a person with his joys and sufferings as an object of depiction in art - no charm of the object-sensual world alone, no “beauties of nature” in themselves. Enduring artistic value"Notes of a hunter" is that the author in them least of all talks about the actual hunting affairs and is not limited to descriptions of nature. Most often, only upon returning from hunting - at an overnight stay - or on the way to hunting, those meetings of the "hunter" and exciting stories from folk life take place, which have become such an indispensable artistic document of an entire era. From the hunting stories and essays of another of our writers, we learn nothing or almost nothing about the life and work of villages or settlements in the vicinity of which he hunts and conducts his finest phenological observations on daytime and nightlife forests and its inhabitants, over the habits of their dogs, etc. Bunin perfectly, from childhood, by blood, so to speak, knew all kinds of hunting, but he was not such an inveterate hunter. He rarely stays in a forest or a field, except that he rides somewhere or wanders on foot - with or without a gun - in the days of thoughts and confusion that overcome him. He is drawn to an abandoned estate, and to a village street, and to any hut, and to a village shop, and to a smithy, and to a mill, and to a fair, and to mowing with peasants, and to a threshing floor where a threshing machine works, and to an inn - in a word, where people, where they swarm, sing and cry, scold and argue, drink and eat, celebrate weddings and commemorations, the motley, troubled life of the late post-reform period. About Bunin’s deep, close, not third-hand knowledge of this life, one can say about the same as about his knowledge by ear, by smell and by eye of any plant and flowering, frosts and snowstorms, spring thaws and summer heats. Literature did not deal with such details, such particulars of people's life, believing, perhaps, that they already lay outside the bounds of art. Bunin, like few people before him in our literature, knows life, needs, everyday calculations and dreams, and a small landlord, often already on the verge of real poverty, and a “starved peasant”, and an obese, gaining strength rural merchant, and a priest with a clerk, and a tradesman, a buyer or tenant, darting around the villages in the hope of "turnover", and a poor teacher, and rural authorities, mowers. He shows life, housing, food and clothing, the habits and habits of all this motley people in a visual way, sometimes close to naturalism, but as a true artist he always knows the edge, the measure - he does not have details for the sake of details, they always serve as the basis for music, mood and story thoughts. The first sign of real good prose is when you want to read it aloud, like poetry, among friends or relatives, connoisseurs or, conversely, people who are not very sophisticated - the reaction of such listeners is sometimes especially revealing. We can only regret that we so rarely read a story aloud, or at least a page - another from a story, story, novel of our writers and poets - whether in the family circle, or at a friendly party. It's not even customary for us. Bunin entered Russian literature with his music of prose writing, which cannot be confused with anyone else. The fact that he was also a poet and poet, who all his life wrote poetry along with prose and translated Western poetry, helped him to clearly define rhythmically in prose. But this is an optional condition. Bunin, an excellent poet, still occupies a subordinate position. Poems of Ivan Alekseevich, with their strict traditional form, are densely equipped with elements characteristic of his prose: lively intonations of folk speech, unusual for the poems of that time, realistic details of describing nature, the life of a village and a small estate. In them you can find such unthinkable according to the canons of "high poetry", prosaic details, such as basins substituted under a drop from the ceiling in a neglected manor house with a leaky roof ("The Butler") or "tufts of wool and droppings" at the site of wolf weddings in the winter steppe ("Sapsan"). However, if in general prose and poetry come from the two main sources of all real art - from the impressions of living life and the experience of art itself, then it can be said about Bunin's poems that they more clearly than his prose bear the imprint of the traditional classical form. Pushkin, Lermontov and other Russian poets came to Bunin not through the medium of the school, and not even through the medium of the book itself, but were perceived and absorbed in early childhood, perhaps even before mastering reading and writing from the poetic atmosphere of their native home. They found him in the nursery, they were family shrines. Poetry was part of the living reality of childhood, influencing the soul of the child, determining his inclinations and aesthetic obstacles dear to him for life. The images of poetry had for him the same personal, intimate value of childhood impressions, as did the surrounding nature and all the "discoveries of the world." made at this age. Only the earliest Bunin was touched by the influence of contemporary poetry. In the future, he tightly fences himself off from all sorts of fashionable fads in poetry, holding on to the models of Pushkin and Lermontov, Baratynsky and Tyutchev, as well as Fet and partly Polonsky, but always remaining original. Bunin's poetry, which for a long time seemed to his literary contemporaries only traditional and even "conservative" in form, lives and sounds, having survived a great many poems that once looked like sensational "discoveries" in comparison with his strict, modest and internally dignified muse and declared about obscenely noisy. The most vital part of Bunin's poetic poetry, as in his prose, is the lyrics of native places, the motives of village and estate life, and the subtle painting of nature. Bunin's language is a language that has developed on the basis of the Oryol-Kursk dialect, developed and consecrated in Russian literature by a whole constellation of writers - natives of these places. This language does not strike us with its unusual sound - even local words and whole expressions appear already legalized in it, as if inherent in Russian literary speech from time immemorial. Local words, used with subtle skill and unmistakable tact, give Bunin's poetry and prose an exceptional earthly charm and, as it were, protect them from "literature" - any rhymed and unrhymed writing, devoid of the warm blood of a living folk language. “Bulking downpour” - this epithet is strange to an unusual ear, but how much expressive power it has, giving an almost physical impression of a sudden summer downpour that suddenly pours down to the ground in streams as if from the sky that had broken off under it. "Murugai foliage" - for most readers, it seems to require an explanatory footnote - what color is murugai? But from a holistic picture drawn in a small beautiful poem“Zazimok”, and without explanation it is obvious that we are talking about late, hard, frost-bitten brownish foliage of steppe oak forests, driven by a ferocious winter wind. In the same way, the rare, almost unknown in literary use, the word “gludki” does not need explanation at all when we meet it in its place: “Frozen gludki flew with a clatter from under the forged hooves into the front of the sleigh.” But the word is what a sonorous, weighty and figurative - without it, the description of the winter road would be much poorer. It is interesting that in the Ceylon story "Brothers" Bunin calls the native pirogue too Russian - oak, and, however, this does not spoil the color of the tropical island coast: that pirogue, that oak is a boat dug out of a single trunk, and the word is only as if reminding that this is a story, so far in content from the Oryol-Kursk land, the Russian writer writes. In The Gentleman from San Francisco, this singer of the Russian steppes, an incomparable master of painting native nature, freely and confidently leads the reader through the comfortable salons, ballrooms and bars of the ocean steamer - at that time it was a miracle of technology. He descends with him to “the gloomy and sultry depths of the underworld… the underwater womb of the steamer, where the gigantic furnaces rumbled muffledly, devouring piles of coal with their red-hot mouths, with a roar thrown into them, drenched in caustic, dirty sweat and waist-deep naked people, crimson from the flames… ". If you try to replace this common, almost vulgar word “cackled” with the correct “laughed” - and the hellish tension of these boilers immediately weakens, the frightening power of the flame, from which the underwater part of the giant steamship hull shudders, the strength of other words about half-naked people loading the furnaces is immediately lost. coal ... And the word is taken again from the stocks of children's and youthful memory, from the world where the artist came from on his distant voyages. This memory in relation to native speech, pictures of nature and rural life and the abyss of all sorts of details of Bunin's past life was miraculously preserved during the several decades he spent outside his homeland.

Bunin cannot but be loved and appreciated for his strict skill, for the discipline of the line - not a single hollow or sagging - each, like a string - for work that does not leave traces of labor on its pages.

In the sense of the school, in the sense of the culture of writing in verse and prose, it is impossible for a young Russian, and not only Russian, writer to pass Bunin among the masters, whose experience is simply obligatory for every writer. No matter how far this young writer is from Bunin in terms of his inclinations and prospects for the development of his gift, in his early years he must pass Bunin. This will teach him a constant sense of the great value of his native speech, the ability to select the necessary and irreplaceable words, the habit of getting by with a small number of them to achieve the greatest expressiveness - in short, respect for the work that he undertook, for a task that requires constant concentration, and respect for those for the sake of which you do this business - to the reader.

Bunin is, in time, the last of the classics of Russian literature, whose experience we have no right to forget if we do not want to consciously reduce the demands on craftsmanship, to cultivate the dullness, languagelessness and impersonality of our prose and poetry. Bunin's pen is the closest example to us in time of the artist's ascetic sophistication, the noble conciseness of Russian literary writing, clarity and high simplicity, alien to the small-scale tricks of form for the sake of form itself. Bunin is a strict and serious artist, focused on his favorite motives and thoughts, each time solving a certain problem for himself, and not coming to the reader with ready-made and lightweight constructions of such a life. A concentrated and in-depth thinking artist, even if he talks about seemingly insignificant, everyday and ordinary subjects, such an artist has the right to count on concentration, and even some tension, at least at first, on the part of the reader. But this can be considered necessary condition fruitful "contact" of the reader with the writer, meaning, of course, not only Bunin, but any genuine artist. The features of Bunin's work are: the use of ancient, and not entirely clear, words in his works. Bunin, with the help of sharp verbs, describes the liveliness of nature. I saw that Bunin put his soul into his work. He focused his thoughts of feeling on the moments experienced. Ivan Alekseevich described small details in detail, thanks to this, Bunin's work is always open to his readers.

The landscape in Bunin's works very accurately shows the meaning of the theme of the work, as nature experiences along with the characters.

3. Prose I.A. Bunin

Creations of true talent never age. Neither old age nor oblivion threaten the best of what Ivan Alekseevich Bunin brought to literature. The circle of his readers has become wide in our days. He never had such a circle during his lifetime. Reading Bunin gives unforgettable moments of insight into inner world person, spiritually enriches and elevates. In an essay dedicated to the poet I.S. Nikitin, Bunin wrote: “I don’t know what is called a good person. It is true that the one who has a soul is good, there is a hot feeling, unconsciously torn from the depths of the heart. I don't know what is called art, beauty in art, its rules. It is true that it consists in that a person, no matter what words, in whatever form he speaks to me, would make me see living people in front of me, feel the breath of living nature, make the best strings of my heart tremble. Bunin himself was such a person. Such is his art, which makes the best strings of the heart tremble. Gradually, he opens up, turns with new facets, becomes more visible, clearer: understanding such a big phenomenon as Bunin takes time, perspectives. Poetry awakened early in Bunin's soul. You read his poems - and you see Bunin himself as a boy clinging to a pine tree and inhaling heat and dryness sunlight... A story or novel usually has more readers than a poem or poem - in order to take your breath away from the perfection of a poetic line, you need a special mood of the soul. There are readers for whom Bunin's poetry is obscured and relegated to the background by his prose. His prose and poetry are distinguished by faith in the moral feeling that is indestructibly inherent in people, love for Russia, a passionate desire to penetrate the secrets of life, sculptural modeling of characters, inner music, complete coordination of breath with the word. Nevertheless, there is neither need nor reason to oppose Bunin the prose writer to Bunin the poet. Bunin himself liked to print poetry and prose under one cover, emphasizing their inseparability and inseparability. And under an hour he even said: “I was probably born a poet after all ...” or: “I am a poet and more a poet than a writer, I am mainly a poet.” Bunin's poetic work is associated with high marks from his insightful contemporaries, who understood how brightly Bunin's star burns in the sky of Russian poetry.

“The integrity and simplicity of Bunin’s poems and worldview are so valuable and unique that from his first book we must recognize his right to one of the main places among modern Russian poetry ... Few people know and love nature like Bunin knows how can." A. Blok (1907)

“Both your prose and poetry, with equal beauty and power, pushed the boundaries of monotonous existence before the Russian man, generously endowing him with the treasures of world literature, beautiful pictures of other countries, linking together Russian literature with the universal on earth.” M. Gorky (1912)

Yes, we are just beginning to delve into Bunin's poetic heritage, rejoicing in the pages that were not read first of all, making new and wonderful discoveries.

Bunin is one of the most passionate lovers of life he knows world literature. His lyrical calendar of nature affirms the unique value of every minute lived by a person under open sky, in the forest, in the field, on the seashore.

One of the main images of Bunin's poetry is the sky: light, pale, flowing, sultry, hot, vague, lifeless azure, cold leaden and again - clear, high, marvelous; it is fun to think about him, not to admire him enough. Heaven is joy. Heaven is the human soul at its highest, best minutes. Looking at the sky, the poet reflects on the secret of creativity, on the meaning of life.

Happiness - according to Bunin - is a complete fusion with nature. Happiness is available only to those who have penetrated its secrets. He considered himself one of the lucky ones.

His lyrics are full of earthly, sensitive joys, tender confessions, poignant drama. His metaphors are simple and natural. No deliberate flashiness, no verbal sophistication. The images compare, unite animate and inanimate nature, creating a pantheistically voluminous image of the world:

"... A sleepy, gloomy, Heavy boa constrictor is twisted - Ocean"

"And boulders, in hissing gray foam,

Glitter below like sleeping seals.

“Sometimes Bunin is called a cold master,” wrote the poet N. Rylenkov. “This is pure misunderstanding.” A feature of Bunin's poetics is the apparent external constraint with internal freedom and the ability to express and capture the subtle, intimate movements of the soul. Thanks to this, sincerity does not turn (as is often the case with other poets) into fawning over the reader. Bunin's poetry is full of inner dignity and respect for the interlocutor.

It would be wrong to imagine Bunin the poet only as a singer of youth and happiness, forever jubilant, enthusiastic; he also expressed the tragedy and sorrow of loneliness, eternal in the contradiction between the immortal world of nature and the brevity of human life: flaming dawns burn the Nord-Ost. The evening star burns sharper. The green, agitated sea Even bigger than ever. Sunset on fire, the star trembles like a diamond. No, not all fishermen return! With an ice-white, terrible eye, the Lighthouse sparkles on the spit. (“The flaming dawns burn the Nord-Ostom…”) (No. 13, p. 15) Many of Bunin's poems develop the theme of inevitability and death. Already in childhood, it sometimes seemed to him that death “sometimes truly finds on the world like a cloud in the sun, suddenly devaluing all our “deeds and things” ... covering everything with sadness and boredom.” In exactly the same way, the shadow of this sadness finds on Bunin's lyrics. Intrepidly - with a bold, truthful pen, he draws the image of death. In exile, Bunin did not write many poems. More and more often, the motive of fatal loneliness sounded in them, and almost every word was dictated by homesickness. In an appeal to the cherished star of youth - Sirius - the poet lamented the irreversibility of the past, unfulfilled hopes for life "in the circle of his beloved and dear." It was as if he foresaw that he would die in a foreign land: Blaze, play with a hundred-colored power, Inextinguishable star, Above my distant grave, Forgotten by God forever! ("Sirius", 1922) In the lyrics, the main person is the poet himself. However, in addition to the author's "I", Bunin's lyrics are inhabited by a string of various faces, for each of them the poet finds new and fresh words. In the hot, life-affirming nature of the poet, love for children was laid. “He loved children organically,” recalls Bunina's friend, artist T. Muravyova-Loginova, “just like he loved life. Children were for him the embodiment of purity, the embodiment of everything blooming ... When they met on his way, he knew how to speak with them, like a magician, like a sorcerer, and conquered their hearts! About children, about the beginning of life, about the discovery of the world, Bunin wrote many pages. He liked to portray children in the evening, before going to bed. This tradition comes from lullabies. Some of his poems resemble lullabies in form. The lullaby is the sound of the ocean in the wonderful poem "In the country chair, at night, on the balcony ...". Children, falling asleep, feel the beauty of the night, its mysterious poetry. Bunin has a word that is a kind, although not the only key to his poetry. Favorite, leitmotif: shine. The first memory of childhood: a large room, illuminated by the pre-autumn sun, "its dry brilliance over the slope." The first childish delight: a box of wax - black, tight, with a dull sheen. As a fifteen-year-old teenager, he wrote: “And I will open the door to the sunshine for new job , for a new happiness! And what? All his poetry is open to the sun. Glow, sparkle, flicker, light, fire, flashes ... "everywhere shine, everywhere bright light ...". Glitter becomes both a verb and an adjective. The poet sees now the diamond shine of a birch forest, now the velvet shine of arable land, now the amber shine of candles, now the blue shine of stars; then sleep at the first light of day; either purple, or cheerful, or glassy, ​​or deserted, or wet, or gold with blue tints ... In the winter landscape (“Frost”), everything is sparkle: stars, the Milky Way, a courtyard covered with snow, fur on a woman’s shoulders, her earrings, her eyes… “Falling Leaves” ends with a triumph of cold winter brilliance: at the same time, the halls of the icy forest shine, the “star shield “Stozhar” shines, the aurora borealis shines! In the poems of Ivan Alekseevich, as in his stories, there is a description of nature. You never get tired of repeating that Bunin saw nature as the most important thing in this life! One of his best poems, according to Bunin and many critics, is "Falling Leaves". There were many good and bad statements about this poem, which was even considered a poem, but this creation was awarded the Nobel Prize, which was important for Bunin. "LEAF FALL". The forest, like a painted tower, Lilac, golden, crimson, Cheerful, motley wall Stands over a bright glade. Birches with yellow carvings Shine in blue azure, Like towers, fir-trees darken, And between maples they turn blue Here and there in the foliage through the gaps in the sky, like windows. The forest smells of oak and pine, It dried up from the sun during the summer, And Autumn, like a quiet widow, Enters its motley tower. Today, in an empty clearing, In the middle of a wide yard, Aerial webs of fabric Shine like silver nets. Today, all day long, the last moth plays in the yard And, like a white petal, Freezes on the web, Warmed by the warmth of the sun; Today it is so light all around, Such a dead silence In the forest and in the blue height, That in this silence You can hear the rustle of a leaf. The forest, like a painted tower, Lilac, golden, crimson, Stands over a sunny meadow, Enchanted by silence; A thrush quacks, flying over Among the pods, where the dense Foliage pours an amber reflection; Playing, a scattered flock of Starlings will flash in the sky - And again everything around will freeze. Last moments of happiness! Autumn already knows that such a deep and mute peace is a harbinger of a long bad weather. Deep, strangely the forest was silent And at dawn, when from the sunset The purple gleam of fire and gold Illuminated the tower with fire. Then it darkened gloomily. The moon rises, and in the forest Shadows fall on the dew ... It became cold and white Among the glades, among the dead autumn thicket through, And terribly Autumn alone In the desert silence of the night. Now the silence is different: Listen - it grows, And with it, frightening with pallor, And the moon slowly rises. He made all the shadows shorter transparent smoke pointed to the forest And now he looks straight into the eyes From the misty height of heaven. Oh dead dream of an autumn night! Oh, terrible hour of night wonders! In the silvery and damp fog Light and empty in the clearing; Forest, flooded with white light, With its frozen beauty As if prophesying death for itself; The owl, too, is silent: it sits and gazes stupidly from the branches, sometimes it laughs wildly, it breaks with a noise from a height, flapping its soft wings, and again sits on the bushes And looks with round eyes, Leading its eared head Around, as if in amazement; And the forest stands in a daze, Filled with a pale, light mist Yes, rotten dampness of leaves ... Do not wait: the next morning the sun will not peep in the sky. Rain and haze The forest is fogged with cold smoke, - No wonder this night has passed! But Autumn will hold deep All that she has experienced In the silent night, and alone Will be locked in her chamber: Let the forest rage in the rain, Let the nights be gloomy and rainy And in the clearing the wolf's eyes Glow with green fire! The forest, like a tower without a guard, All darkened and faded, September, circling through the thickets of the forest, From it in places took off the roof And strewn the entrance with damp foliage; And there the winter fell at night And began to melt, killing everything ... Horns blow in the distant fields, Their copper overflow rings Like a sad cry, among the wide Rainy and foggy fields. Through the noise of the trees, beyond the valley, Lost in the depths of the forests, Turin's horn howls sullenly, Calling to the prey of the dogs, And the sonorous din of their voices, The desert noise spreads storms. The rain is pouring, cold as ice, The leaves are spinning across the clearings, And the geese are flying in a long caravan Above the forest. But the days go by. And now the smoke Rises in pillars at dawn, The forests are scarlet, immovable, The earth is in frosty silver, And in the horn-stay shugai, Having washed his pale face, Meeting the last day in the forest, Autumn comes out onto the porch. The yard is empty and cold. Through the gates, Among two dry aspens, She can see the blue of the valleys And the expanse of the desert swamp, The road to the far south: There from the winter storms and blizzards, From the winter cold and blizzards The birds have long flown away; There and in the morning Autumn will direct Its lonely path And forever in an empty forest The opened tower will leave its. Forgive me, forest! Forgive, farewell, The day will be gentle, good, And soon the dead edge will silver with soft powder. How strange it will be on this white, deserted and cold day And the forest, and the deserted tower, And the roofs of quiet villages, And the skies, and without borders In them leaving fields! How happy will be the sables, And the stoats, and the martens, Playing and basking on the run In soft snowdrifts in the meadow! And there, like a violent dance of a shaman, The winds from the tundra, from the ocean, will burst into the naked taiga, Buzzing in the spinning snow And howling in the field like a beast. They will destroy the old tower, They will leave the stakes and then On this empty skeleton They will hang frost through, And in the blue sky the halls of ice Will shine And with crystal and silver. And in the night, between their white divorces, Lights will rise vaults of heaven, The star shield Stozhar will sparkle - At that hour, when a frosty fire glows in the midst of silence, The flowering of the aurora. (1900) The miracle is in simplicity. Reading "Falling Leaves" and other pages of Bunin, we see how captivating the change of seasons is, how beautiful the fields and forests are, through which, changing and mixing colors, a "shining wave" seems to pass. Nature is even more beautiful if a person, a poet, whose heart “craves the brilliance of the day and happiness” spiritualizes it with the music of words that are understandable to everyone, permeated with light. A person living in a city, accustomed to dusty roads, tall buildings, gray stuffy streets, where it is difficult to see the horizon, sunrise or sunset, has nowhere to see the beauty of Russian nature. Reading Bunin's poems, a picture arises before your eyes with Russian birches, blue skies, the coming autumn, "the ringing silence from which the soul is cleansed." The poem "Falling Leaves" begins with a description of the forest. "The forest, like a painted tower, Lilac, golden, crimson, Cheerful, motley wall Stands over a bright glade." Bunin describes the forest in which autumn has come. In many works of Ivan Alekseevich one can find a description of autumn. In "Leaf Fall" Bunin treats her with respect, writes about her with a capital letter. The forest in this poem is shown in any weather: on a bright sunny day, in fog, in rain and in darkness. “... The sun is in the sky. Rain and haze Cold smoke fogs the forest ... "The forest is waiting for the onset of winter. Ivan Alekseevich imagines how soon the forest will be covered with silvery powder, how sables, ermines, and martens will be happy with the snow. “... And soon the dead edge will be silvered with soft powder ...”

In the poem "Falling Leaves" nature, described by Ivan Alekseevich, is bright, lively, natural. Bunin went to the forest and enjoyed the beauty of Russian nature, being inspired, expressed his emotions on paper. Bright lines turn into a poem that awaken enthusiastic feelings in the soul of the reader. Bunin was worried when he could not express his feelings about what he saw, but he was insanely happy when it worked out. At the beginning of 1901, a collection of poems "Leaf Fall" was published, which caused numerous reviews from critics. Kuprin wrote about the "rare artistic subtlety" in conveying mood. Blok for "Falling Leaves" and other poems recognized Bunin's right to "one of the main places" among modern Russian poetry. "Falling Leaves" and the translation of "The Song of Hiawatha" were awarded the Pushkin Prize by the Russian Academy of Sciences, awarded to Bunin on October 19, 1903. Since 1902, Bunin's collected works began to be published in volumes by Gorky's publishing house "Knowledge". In "Leaf Fall" a complex metaphor was masterfully unfolded: the forest - the widow's tower before winter - with bright and even dapper painting gives all the colors autumn forest (“purple, gold, crimson”), but is limited to the mood of beautiful withering and fading of nature, regardless of human deeds and thoughts of this time, then, no matter how much this painting was praised, it leaves the impression of some kind of deadness, simply does not take for a living ... I disagree with this statement. In my opinion, this poem is saturated with liveliness, overflowing with bright colors, and very beautifully Bunin conveys the feeling of how the forest is preparing for winter. Dense green spruce forest near the road, Deep fluffy snow. A deer, mighty, thin-legged, walked in them, Throwing back heavy antlers. Here is his trace. Here he trodden paths, Here he bent the Christmas tree and scraped it with a white tooth - And a lot of coniferous crosses, ostenkos Showered from the top of the head onto a snowdrift. Here again is a trail, measured and rare, And suddenly - a jump! And far away in the meadow The dog rut is lost - and the branches Studded with horns on the run ... Oh, how easily he left the valley! How madly, in an abundance of fresh strength, In the swiftness of a joyful bestial He took beauty away from death! (1905) In my opinion, this is one of the most beautiful poems of Ivan Alekseevich. Deer is the most beautiful and graceful animal. It is no coincidence that Ivan Alekseevich chose a deer. In the first lines, Bunin shows the calm atmosphere that prevails in the forest. The animal walks through the forest and enjoys life. “... A deer, mighty, thin-legged, walked in them, Throwing back heavy horns. Here is his trace. Here he trampled down the paths, Here he bent the Christmas tree and scraped it with a white tooth - ... ”Nothing portends trouble. But suddenly Bunin suddenly interrupts this calmness. “... And suddenly - a jump! And far away in the meadow The dog's rut ​​is lost - and the branches Studded with horns on the run ... ". The deer hunt begins. Bunin draws attention to how fast the deer runs, leaving behind dogs and branches, which he upholsters with horns on the way. “Oh, how easily he left the valley! How madly, in an abundance of fresh strength, In the swiftness of a joyful bestial He took beauty away from death! » Reading these last lines, tears involuntarily roll into my eyes. Ivan Alekseevich Bunin admires the deer, which is moving further and further away from death. Bunin shows how happy the animal is, which, in an abundance of fresh strength, saved its life from death. The last line is filled with a sense of pride, joy, admiration. The deer is an excellent animal and a symbol of beauty. Bunin admires this beauty, and with this poem he wants to prove that it is not worth killing this beauty, because everyone wants to live and has the right to it! ... One of the last poems of the poet - "Night" (1952) Icy night, mistral (He has not died down yet). I see through the windows the brilliance and the distance of the Mountains, the naked hills. Golden immovable light Before the bed lay down. There is no one in the sublunar, Only me and God. Only he knows my Dead sadness, The one that I melt from everyone ... Cold, shine, mistral. The life of eighty-two-year-old Bunin has already been a shot bird. The brilliance in the last line of "Night" is, as it were, squeezed by cold and wind, and the brilliance itself is icy. Sadness is dead. But the poem is so alive, powerful, that it causes not only grief, but also pride in the human spirit, not broken by difficult circumstances, poverty, illness, senile infirmity, loneliness; with a broken spirit do not write such a poem. Bunin's poetry is a special reality, a special beautiful world. If you carefully read the poems of the poet, they can remain in the soul for the whole century, make it more receptive to the great joy of life. “Poetry lives for a long time,” Bunin said, “and the further, the stronger.” His poetry - honey accumulated in the invisible honeycombs of the soul - is becoming sweeter and more healing.

Bunin landscape prose creativity

4. Landscape in the works of Bunin

Landscape (French Paysage, from pays - country, area.) - a picture of nature, which has a different artistic meaning depending on the style of the author, the literary movement with which he is associated. In lyrics, the landscape can have an independent meaning: the perception of nature by a lyrical hero. In prose, the landscape is associated with the nature of the narrative and correlates with the mood of the characters. For the first time, the landscape plays an important role in sentimentalists, who depict a person against the backdrop of nature, opposed to the civilized world, and the picture of nature is presented, emphasized emotionally. In contrast to the landscape of sentimentalists, sustained in calm, light colors, the landscape in romanticism presents pictures of a powerful, raging nature or majestically rich. romantic landscape is part of the local color and serves as one of the means of creating an extraordinary, sometimes fantastic world, opposed to reality; in addition, the landscape usually corresponds to the nature of a romantic hero, melancholy-dreamy or restless, rebellious. In a realistic work, the meaning of the landscape is more diverse: it is interesting in itself, as part of the real environment in which the action unfolds; it emphasizes or sets off the state of mind of the characters, the nature of the events taking place. Sometimes the landscape has a symbolic content.

The landscape can be rural, urban, sea, mountain, etc. I really like the works of I.A. Bunin. Having opened one of the volumes of his collected works, I plunged into the wonderful world of his heroes. It smelled of Antonov apples, a fire, a fresh summer evening. I saw on the pages of his stories the life of the village people, the beauty of Russian nature and true love. I was struck by the liveliness of the images created by the writer (even nature, in the works of Ivan Alekseevich, comes to life before our eyes). In all the heroes of Bunin there is something that made me empathize with them, rejoice and grieve with them. A). The work "Mitina's love". Bunin's description of the state, the mood of a person coincides with the mood of nature. Many of Ivan Alekseevich's works are filled with love, therefore, this state is well reflected in nature. The work begins with the onset of spring. Spring is the season of love and beauty. Everything is alive and awake. “Winter suddenly gave way to spring, it was almost hot in the sun. As if the larks had flown in and brought warmth and joy with them. Everything was wet, everything was melting, drops were dripping from the houses ... Everywhere it was crowded and lively ”(No. 12, p. 330) Mitya is the main character of the work. He was in love with his girlfriend Katya, who was fond of the theater. But gradually in their relationship it “coldered” and they decided to take a break from each other. Katya went with her mother to the Crimea, and Mitya went to the village to his family. In the village, Mitya kept thinking about Katya, and that was how he lived. “The weather was beautiful, the gardens were blooming and there was spring freshness in the air.” (No. 12 p. 339) Mitya recalled how his childhood passed (by the way, this story contains memories, also the main "horse" in Bunin's work). He remembered what he experienced when his father died, also this happened in the spring. Then Mitya felt death in the world! “Somehow the sun didn’t shine like that, the grass didn’t turn so green - everything was not like it was a day ago.” Mitya imagined a strange, vile, sweetish smell in the washed and many times aired house ... Mitya hated spring before meeting Katya. “The world was again transformed, again full, as if nothing terrible had happened, but on the contrary, wonderfully merging with the joy and youth of spring.” (No. 12 p. 349) Mitya sent letters to Katya, but when Katya stopped answering, fear and the smell of death crept into the hero’s soul (“he decided that if Katya did not answer him, he would shoot himself”). Nature changes dramatically with the state of the hero: “It rained, thunderstorms and downpours ran, and the sun shone again (the sun in these lines symbolizes hope, the hope that Katya will answer his letter and everything will be fine). The garden faded and crumbled, thickened and darkened. (No. 12 p. 351) Soon a letter from Katya arrived. It said that they should part. “The rain fell (Bunin used such a verb that reports suddenness, unpreparedness and helplessness) on the garden with force and unexpected thunderclaps.” (No. 12 p. 384) This is due to an unexpected, difficult letter for him. Mitya could not save his beautiful love in that most beautiful spring world, which so recently seemed like a paradise. In this story, Ivan Alekseevich Bunin writes about love as the highest gift of fate. This work is based on the young Bunin's real feelings for V.V. Pashchenko. This is confirmed by V.N. Muromtseva-Bunin: in Mitya’s Love, she wrote, “it’s true that there is not a single autobiographical external feature, but Mitya’s experiences are the experiences of the young man Bunin ... And it seems to me that Ivan Alekseevich did not reveal his love experiences anywhere, as in Mitya love", carefully camouflaging them." The author gave Katya some features of V.V. Pashchenko: inconstancy, striving for the stage. Like Pashchenko, Katya leaves Mitya for another person. Ivan Alekseevich took the image of Mitya from a barchuk who came to visit. The work of Ivan Alekseevich "Mitya's Love" is filled with suffering and experiences of the protagonist. Therefore, Bunin, in order to convey the feelings of Mitya, shows the state of nature. Nature rages when fear, emotion, sadness creep into the hero’s soul “... the wind rose, dark clouds covered the sky, and it began to rain ...” (No. 12 p. 383) Bunin, as an artist, draws a description of nature, but not with a brush, but with words, and he did it very well. In the description of nature, I very well felt the grief that Mitya experienced. B). The story of cold autumn.

I.A. Bunin has a story "Cold Autumn", which intertwines love and war. Many writers who touched on the military theme described the horror that our compatriots experienced. Bunin was no exception, but he did not describe the war itself, but described the feelings that made them akin to the war. Bunin showed through nature the onset of war and farewell to relatives. The narration of the story "Cold Autumn" is conducted on behalf of a woman who escorts her beloved to the war. The situation helps to understand the early cold autumn, which came suddenly. “Surprisingly early and cold autumn. ... In the black sky, pure ice stars sparkled brightly and sharply. Bunin uses vivid expressions, such as "in the black sky". Black is the color of mourning, sadness, grief. Bunin uses, for example, not a dark sky, but black, which symbolizes death. Ivan Alekseevich uses the expressive adverb “brightly”, in my opinion, it is something bright that symbolizes life at the same time. In the adverbs "bright" and "sharp" there is a sound "p", which gives these words brightness, expressiveness, sound. In his work, Bunin uses the expression "ice stars" - this definition directly chills the soul, cold is associated with death, which inspires horror and fear. In the soul of the heroine "it became harder and more indifferent." The red moonrise still stirred the soul. Red is the color of blood. And from the moon it seemed like a fire. Everything predicted disaster. Indeed, nature was right. Beloved of our heroine was killed a month after the war. The heroine was not afraid to die, because she knew that they would be waiting for her there. “I lived, I was glad, now I will come soon.” In the work “Cold Autumn”, the role of the landscape is to show how nature suddenly changes with the war: cold autumn comes unexpectedly for everyone. Bunin, with the help of this technique, confirms that a difficult time has come for the people. Nature is consonant with the feelings of man. Cold in nature, cold in souls. Critics appreciated this work from the best side. They were delighted with how Ivan Alekseevich conveyed the horror of war with the help of a sudden, cold, rainy autumn. I also really liked the work "Cold Autumn". I didn’t have to be in the war, and I wouldn’t want to be there, I have no idea how scary it is, but this horror looms in the work “Cold Autumn”. And if you read it carefully, you can experience this pain along with the heroes of the work. IN). The work "Natalie" Ivan Alekseevich Bunin in the work "Natalie" combined three of his themes on which his work was based: the theme of love (as always passionate and unhappy), the theme of nature (as in all works, Bunin uses a description of nature to understand the situation in the work) , the theme of death (almost in all works related to love, death is present at the end. Love pushes for rash acts, the price of which is life). The protagonist comes on vacation to his uncle, where his cousin Sonya lived, with whom he was in love. At that time, Sonya's friend Natasha lived in their house. And our hero does not suspect what kind of love adventure he got into. Sonya had a presentiment that the hero would immediately like Natasha, but at the same time, so that her father would not find out about their love, Sonya forced the hero to stage love for Natalie. But Sonya did not allow to cross the threshold of true love for real. The bright sun was visible through the open windows, blue sky, greenery, long birch alley. There was a warm smell of river water and the cry of a rook on the tree tops. Gradually, after solitary meetings with Natalie, our hero realized that he could not live without Natasha. He was torn between Sonya and Natasha. “For which God gave me two loves at once, so different and so passionate, such an agonizing beauty of Natalie’s adoration and such bodily ecstasy of Sonya.” The hero crossed that threshold of prohibition in relations with Natasha. He suffers, and nature changes with him. “A cloud came in from behind the garden, the air grew dim, a soft summer noise walked wider and closer through the garden, a field rain wind blew sweetly ... It rained quietly at night, but in the morning the weather cleared up, after dinner it became dry and hot.” Natalie noticed that there are more feelings between the hero and Sonya than between brother and sister. At that time, our hero was also not indifferent to her, and he gave her hope by declaring his love. “The room and the garden were already drowned in darkness from the clouds, in the garden, behind the open windows, everything was noisy, trembling, and more and more often I was illuminated by a fast and at the same moment disappearing green-blue flame. I got carried away fresh wind and with such a noise of the garden, as if he was seized with horror: here it is, the earth and sky are on fire! I jumped up, with difficulty closed one window after another, catching their frames, overcoming the wind that ruffled me ... it seemed to me that the storm would break all the windows in the living room. With a green-blue illumination, in color, brightness, I saw something truly unearthly, for a second leaving a trace of something tinny, red in my blinded vision. A year later, Natalie married another, but her husband died. (“After three years of our separation, Natalie had already become a widow and mother. She seemed even more beautiful, I looked at her and could not take my eyes off her, as if from an icon”). Our hero married, but not Sonya. He believed that this was not love, but a terrible pity, tenderness. He realized that true love was love for Natalie. And Natalie's true love was the love of a hero. Their destinies were not successful, but they could be happy. "She died in a premature birth in December." Unhappy love - that's what Ivan Alekseevich wants to show in the work "Natalie". Two loving friend friend of the heart could not be together because of a stupid game, unconsciousness. The landscape also takes part in the description of unhappy love. The landscape, just like in the work "Mitya's Love", conveys the state of the hero through nature, how it changes when something terrible happens in the fate of the hero.

Love is one of the feelings that almost all writers write about. Ivan Alekseevich Bunin was no exception. Love is one of the topics on which he wrote his works. And not just love - the highest feeling, but unhappy love. With the help of the landscape, the writer, as it were, revives both nature and love. The works, "Mitina's Love", "Cold Autumn", "Natalie" are interconnected by a common theme, which Bunin wrote about. Most of Ivan Alekseevich's works are based on real events. For example, the story "Mitina's Love" is based on young Bunin's feelings for V.V. Pashchenko. The landscape helps to better understand the problem facing the hero and convey all the feelings of the hero and the author. When describing nature, the work comes to life and becomes more interesting. Bunin embodies his own tragic understanding of love in his stories, realizing it not only in dramatic endings, but also in depicting instantaneous, unexpectedly interrupted meetings of heroes. Love as a happy short-term meeting is the characteristic content of recurring situations in the stories of the cycle. The hero of the short story "In Paris" bitterly realizes that "from year to year, from day to day secretly" he waits for only one thing - "a happy meeting", lives, in essence, "only in the hope of this meeting and all in vain." But even if this meeting does take place, Bunin has no way out into the future. life together men and women. Such an “unstable”, “temporary” meeting also corresponds to the “unstable” artistic space of the story of the cycle: an inn, a hotel, a train, a noble estate, where the heroes stay on vacation, on vacation. The tragic ending is as if predetermined, and the author puts forward the sensual-emotional and aesthetic perception of love by the heroes. But even the brightest, sharpest moment of awareness of falling in love is not able to break through the inevitable joint life hostile to a high feeling. The matter never reaches him in Bunin's stories. G). "The Gentleman from San Francisco"

One of the reasons for writing the story was a memory associated with the impression in April 1909, on a steamship, while traveling, Bunin started a dispute “about social injustice”, and he answered his opponent like this: “If you cut the steamer vertically, we will see: we are sitting , we drink wine, we talk on various topics, and the machinists are in hell, black from coal, working. Is it fair? And most importantly, those who sit at the top and for the people of those who work for them ... ". It was here that "The Gentleman from San Francisco" was born.

The story "The Gentleman from San Francisco" was highly acclaimed by critics. Before Bunin, no one so openly described people in different social strata. Bunin was right that all people are equal before each other and before death, this is what he is trying to convey with his story. The gentleman from San Francisco - that was the name of the main character of the story. The hero did not have his own name, since he is not worthy of it. This gentleman believed that if he is rich, then he can afford everything. He was fifty-eight years old, but all these years he did not live, but existed. All his life he worked, never thought about rest. His goal was to be a rich and famous person. Deciding to take a break, the Master sets out on a journey through the countries with his wife and daughter on the ship Atlantis. Bunin named the ship in honor of the sunken country. By this, Ivan Alekseevich shows the danger of the upcoming trip.

All the actions taking place on the ship "Atlantis" are simulated and fake. For example, there was one couple on the ship, which created an atmosphere of love. Bunin despises this falsehood, which reigns everywhere, including on the ship "Atlantis".

“The ocean with a rumble walked behind the wall in black mountains, the blizzard whistled strongly in the heavy tackle, the steamer trembled all over, overcoming both it and these mountains, as if with a plow breaking apart their unsteady, now and then boiling and foamy tails, huge masses to the sides, - in mortal anguish, the siren, strangled by fog, groaned, they froze from the cold, and went crazy under the sultry bowels ... ”(12 p. 281). The weather during the whole trip was not favorable: sometimes hot, sometimes cold. With this description, Bunin seeks to show that trouble will happen on the ship. A gentleman from San Francisco sought to find his daughter a worthy and rich groom. On the journey, his daughter met the prince, who was traveling incognito. He was not good-looking and strange, but since he was a rich man, the daughter of the Lord from San Francisco spent time with the prince. A gentleman from San Francisco, not noticing the presence of his wife and not thinking about his age, looked at the young ladies. He was not even embarrassed by the fact that many of them were ready to give their love, even if not entirely unselfishly. The master was generous on the way and believed in the care of all those who fed and watered him, served him from morning to evening. In Naples, where they arrived, local residents began to run up to the Lord and offer him their services. The master smirked at these ragamuffins. December was not entirely successful, the weather was bad. The receptionist constantly excused himself that they did not remember such weather, although such weather was from year to year. Lies and hypocrisy reign here. “The morning sun deceived every day: from noon it invariably turned gray and began to sow rain, but it was getting thicker and colder; then the palm trees at the entrance of the hotel shone with tin, the city seemed especially dirty and cramped, the museums were too monotonous ...; about the dampness and the stench of rotten fish from the foaming sea near the embankment, and there is nothing to say. (No. 12, p. 285) In whatever city the gentleman from San Francisco came, during the trip, with his family, everywhere there was a terrible picture and vile weather. “There was no sun in the morning. A heavy fog hid Vesuvius to its very foundation, low gray over the leaden swell of the sea. The island of Capri was damp and dark…” (No. 12, pp. 286-287).

The gentleman from San Francisco has died. He strove to be good for everyone, scattered money over trifles, but when he died, everyone forgot about him. Everyone continued to have fun and dance, the mood was not spoiled even by the fact that the ship was hurriedly brought in and put on the bed in the forty-third room - the smallest, worst, dampest and coldest, at the end of the lower corridor where rats ran. The Master lay on a cheap iron bed, under coarse woolen blankets, on which a single horn shone from the ceiling” (No. 12, pp. 293-294). And instead of a coffin, the Gentleman from San Francisco had an ordinary box of soda water. After death, the Lord is not expressed a feeling of regret, but rather joy. For example, a servant who served the Master, after his death, laughs at the deceased. “... And, squeezing his throat, protruding his lower jaw, he answered himself creakingly, slowly and sadly, as if from behind a door ...” (No. 12, p. 295). “The body of a dead old man from San Francisco was returning home ... Having experienced many humiliations, a lot of human inattention, having spent a week from one port shed to another, it again got on that famous ship, on which so recently, with such honor, they carried him to Old light. But now he was sailing not with living people, but in a black hold.

Bunin shows that now in our society everything is decided by money. If you are poor, then you are nobody - this can be seen in the example of the Master (he was needed when he had money). Ivan Alekseevich ridicules such a society and despises it. I share the author's point of view and believe that money is not the main thing in our life. As they say: "He who has big money has big problems."

Conclusion

Ivan Alekseevich Bunin occupies an important place in Russian literature.

He is one of the largest representatives of critical realism of the twentieth century. The feeling of a turning point in life, the death of the old noble culture largely determined the main content of the writer's works. Ivan Alekseevich writes on eternal topics: nature, love, death. Nature, and landscape in particular, occupies an important place in Bunin's work. Bunin believed that "nature is the very thing that helps to understand who you really are." And not in vain, Bunin accompanies each of his works with a description of nature, which is more, which is less, but still nature is present in every creation. With the help of nature, you can understand the mood, state, character of the work. How nature helps in describing feelings and how it changes when tragedy strikes. Love for Ivan Alekseevich is always sad, problematic, tragic. Bunin at first admires this feeling, describes it colorfully, then love fades away and is abruptly interrupted ... This is due to the death of the hero. Love in Bunin's stories is closely intertwined with death and even, as it were, inspired by its proximity. Most of his love stories end in death. Sometimes the endings of such stories even seem artificial, unexpected. Memory also occupies the main place in Bunin's work. The hero of Bunin's stories recalls the most wonderful moments that were in his life and regrets that they ended so quickly. But what unites all Bunin's works is the tragic end, the tragedy of love. It would seem that the tragic ending does not fit into the romantic plot of the story, but no, such an ending only enhances the sublimity of feelings, its romantic elevation above the ordinary. After all, heroes die because of love and in the name of love. Truthfully showing life, the author often idealizes his heroes, makes their relationship complex and romantic, his stories contain music and nature, nobility and low feelings, vicious relationships and eternal love, which spiritualizes the heroes, making them higher and more beautiful. Bunin lived a long life. He saw the victory of the Soviet people over German fascism in 1945, he was happy for his fatherland. Reading books with interest Soviet writers, admired "Vasily Terkin" Tvardovsky 1953. the writer died in Paris.

Bunin entered literature as a poet. Already in his youthful poems, motives sounded that would largely determine the meaning of later, mature creativity. He speaks of nature as the center of harmony. To be natural, like nature itself, is the ideal of the young poet. Not only admiration for nature, but also a passionate thirst for reunion with it - this theme of classical poetry sounds in the poem of 16-year-old Bunin sounds like a program: - “You open your arms to me, nature, / So that I merge with your beauty!” (“Wider chest, open wide for acceptance ...”, 1886).

In the naturalness of being, according to Bunin, is the source of the main values ​​​​of human existence: peace, cheerfulness, joy. A long time ago in the world, incl. and Russian lyric poetry, the humanization of nature Bunin persistently repeats, enriching with new metaphors.

Bunin's best poetic work was the poem "Falling Leaves" dedicated to M. Gorky - this is high landscape lyrics. Striking in colors, picturesque elegance, she stood on a par with the best landscapes in world poetry. Having studied the work of Ivan Alekseevich Bunin, I realized that nature occupies the most important place in his works and life. Bunin wrote: “For me, nature is as important as man - if not more important. I wrote about nature much more than about the people I encountered. I loved, I was just in love with nature. I wanted to merge with her, to become the sky, the rock, the sea, the wind. I struggled, not being able to put it into words. How keenly I loved life and all living things, to the point of passion. Bunin instilled this passion for life in his heroes, who understood before death how beautiful life is, everything that surrounds it and must be cherished every day, since life flies very quickly. An extraordinary thirst for life and a sense of delight in the natural world, its pristine beauty, Bunin combined with a sharp, never-passing sense of the earthly end.

Bunin carried in himself such a memory of death that brought him closer to the church fathers and hermits, one of whom, when asked how best to prepare for death, answered: “Every morning think that the day that has come is the last day in your life; and every evening - that the coming night is the last night of your life. But the religious admiration for the world was replaced in him mainly by aesthetic admiration. “One more of my mornings on earth….”, “To know one more spring!” - he repeated, as if this morning was the last and last spring, but he was delighted with the beauty of indifferent nature and the mystery, the mystery of earthly carnal love.

His enormous, indisputable talent was not immediately appreciated by his contemporaries, but then, over the years, it became more and more consolidated, affirmed in the minds of the reading public. It was likened to "matte silver", the tongue was called "ice razor". Gorky called him "the foremost master in contemporary Russian literature".

Late autumn has always remained his favorite topic. At Bunin you will hardly find landscapes bathed in the hot summer sun. Even for love - love - memories - he finds a different consonance with nature: “And the wind, and the rain, and the haze over the cold desert of water. Here, life died until spring, gardens were empty until spring .... "

Bibliography

1.V.N. Afanasiev - I.A. Bunin - Moscow, 1966 (p. 205)

2.A.K. Baboreko - I.A. Bunin. Materials for the biography of 1870-1917. - Moscow, 1983 (page 171)

VV Vorovsky - Literary and critical articles - Moscow, 1956 (page 115)

L.S. Vygotsky - Psychology of Art - Moscow, 1986 (ch.VII "Easy breathing") (p. 130)

V.Ya. Lakshin - Biography of the book (article by Chekhov and Bunin - "The Last Meeting") - Moscow, 1979 (p. 280)

HE. Mikhailov - Strict talent I.A. Bunin - Moscow, 1976 (p. 180)

A.M. Nilov - Gorky and Bunin - Leningrad, 1984 (p. 250)

A Brief Dictionary of Literary Vedic Terms - Moscow, "Enlightenment", 1978. (page 114)

Russian writers (bibliographic dictionary A-L (1) _ Moscow "Enlightenment", 1990. (p. 125) I. A. Bunin. Poems. Novels. Stories. - Moscow, "Business Bustard", 2004. (p. 480) I. A. Bunin Collected Works Poems 1886-1917 "Fiction", 1965 (p. 478) I. A. Bunin Novels and Stories - Moscow, Pravda 1982 (p. 574) 13. I. A. Bunin Poems - Moscow, "Children's Literature" 1989 (p. 111)

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"Artistic means,

individual characteristics

heroes"

(according to the stories of I.A. Bunin)

teacher of Russian language

and literature

Veishnarovich T.V.

I.A. Bunin worked on the Dark Alleys cycle for many years and considered this book to be his most modern creation. And indeed, all the stories included in the collection are an example of the greatest talent of the writer.

The writer made an attempt in this book that was unprecedented in terms of artistic courage: he wrote thirty-eight times (such is the number of stories in the book) “about the same thing”. The main theme that unites the entire cycle of stories is the theme of love. But this is not just love, but love that reveals the most hidden corners. human soul, at the same time being both the basis of life and the eternal dream of happiness, the desire for it. And which, alas, we so often miss.

For Bunin, love is an unsolved mystery. Love experiences in the image of the writer are associated with an unprecedented rise in all the emotional abilities of a person, allowing a person to see and perceive life in a special dimension that contrasts with the everyday perception of life. This special vision and perception of life is not given to everyone, but only to the elect, to those who are given a happy (and always the only) opportunity to experience the painful joy of love.

Love in Bunin's works allows a person to accept life as the greatest gift, to acutely feel the joy of earthly existence, but this joy for the writer is not a blissful and serene state, but a tragic feeling, colored with anxiety. In this feeling, joy and torment, sadness and jubilation are fused into a single, indissoluble whole.

"Tragic major" - this is how the pathos of Bunin's stories about love was defined by the critic of the Russian abroad Georgy Adamovich: places, the sun is the sun, love is love, good is good.

Each hero of Bunin's works has his own individual traits and qualities of character. And Bunin, as a true artist and master, achieves perfection in depicting the individual characters of his heroes.

What artistic means does the author use to create these characters?

To answer this question, let us turn to the works themselves and try to analyze them.

For analysis, let's take the works included in the cycle "Dark Alleys". These are the stories "Natalie" and "Clean Monday".

The story "Natalie" is included in the book "Dark Alleys", which Bunin considered

best book of all he has created.

The idea of ​​the story and its prototypes are interesting. Many considered and even relatives

Bunin's acquaintances were inclined to think that this story was autobiographical. But

To me young man who went in search of love adventures?

And at first I thought it was going to be a series of pretty funny stories. And it turned out completely

completely different".

The story tells about the sublime, poetic experiences of young people, taken by surprise by love. The writer is not only concerned

"unexpected" love, but above all and mainly true,

human, earthly love, the harmony of bodily and spiritual unity. Such

Love is a great happiness, but happiness is just like lightning: it flared up and disappeared.

The story is told in the first person. The main character is a student who came to

to his uncle during the summer holidays. Thus, all events in the story

Perceived by the reader through the prism of the main character's gaze.

Main storylines stories are intertwined:

Vitaly - Natalie

Vitalia - Sonya

Sonya - Natalie.

secrets he possessed to give what striking characteristics to such

people of different content? Let's try to analyze.

Bunin, as you know, rewards his heroes with some specific detail,

which accompanies them throughout the story.

So Natalie's "golden hair" and her "black eyes" constantly haunt us.

to the last chapter, and we, regardless of our desire, are already creating

a certain image in your mind. It seems to be the author's luck. In addition, the characteristics of the heroes are given by the heroes themselves. And this creates a certain trust in

main feature.

Examples:

1. Vitaly is characterized by Sonya, who immediately noticed that he “generally

changed a lot, became light, pleasant. That's just the eyes run. We emphasize

there are two words “eyes run”, and it will immediately become clear that this is also an unstable

character, and the inability to find oneself, and "search for love meetings" - for this very purpose

and our hero came to the village to his uncle.

2. Sonya also gives a description of Natalie: “Golden” hair and black eyes.

These "golden" hair and black eyes "will accompany Natalie throughout

the whole story.

3. Sonya herself characterizes herself: “My character is not at all as cute as you might think!”

In general, each character is revealed in its interaction with others.

characters. And Bunin so combines phenomena with each other that they complement

each other: a phenomenon, a character become clear to us precisely in the movement in

development, in connection with other phenomena. It is easy to see that in this story all the characters, all the details do not immediately come into play. The author gradually introduces either character or individual properties of the character. So the figurative composition of the story no longer indirectly participates in the depiction of the character, but directly “finishes” the portrait.

All chapters are arranged in the following order and have the following content:

1 - Arrival of Vitaly, Sonya and Vitaly.

2 - Meeting with Uncle Vitaly. Meeting Natalie.

3 - First dialogue with Natalie. Natalie's insight.

4- Sony's disease. Vitaly's monologue Explanation with Natalie.

5- "Earth and sky light up" (climax).

6- A year later ... in the Noble Assembly "And another year and a half passed"

The funeral of Meshchersky

7- Meeting with Natalie after 3 years. Hopelessness. Death.

The main character of the story, Natalie, appears only in the second chapter and never leaves.

from the pages to the end of the story. And Sonya appears at the very beginning of the first chapter, but

in the sixth chapter and the seventh chapter - not a word is said about it.

So Natalie comes to the fore among all the heroes of the story. And although she doesn't

talks so often and not so much, we know that she becomes the main character

precisely because all Vitaly's thoughts and heart are occupied with her, and the main

the load of the story is borne by Natalie. So the composition of the parts of the story helps us

understand the depth of the character of the characters.

What guides the actions of our heroes? What is the basis of their

behavior? What thoughts? Feelings? That is, what motivates each of the actions. Let's take specific example: a secret meeting between Sonya and Vitaly in his room.

Sonya not only goes to this act. Moreover, she herself came up with this idea,

and now embodies it. What makes Sonya do this? The motive of her soul

due to the fact that Sonya, growing up without a mother, matured very quickly.

And she can't cope with her adulthood. And there is no one to help.

Therefore, using the circumstances, Sonya chooses this path.

But at the same time, he reserves the right to decide the main question of her life:

you need to “find ... Sonya you need to” find such a groom as soon as possible. What would come to us

“to the yard,” she says herself. And we understand that before us is a prudent, seeking

an adventurous girl prone to intrigue, which was not such a rare occurrence

in Russia at the time. Bunin, of course, knew well the customs of the nobles of the late 19th century, early 20th century, knew life in all its details and did not

It's a lot of work to imagine and create such a character as Sonya.

Dexterous and bold in her actions, she immediately determined: “Natalie to our romance

will not interfere with you. You will go crazy with love for her, but kiss

you will be with me. You will cry on my chest from her cruelty, and I will console you. ” Of course, the reader immediately guessed that the last phrase was uttered

Sonya is more for effect than for real action, and yet Sonya appears as a clearly defined female type, taking place not only in

Bunin's prose, but also in life.

Sonya continues her "game" in the second chapter. She finds a place, a time

to whisper to your chosen one: “From now on, please pretend that you fell in love with Natalie. And watch out if it does. You don't have to pretend."

And what prompted our young man to this double game?

Why did he get involved so easily? Is it always the same? Or changing position?

Our main character is student Vitaly"I was happy with that special happiness

the beginning of a young free life, which happens only at this time. He was thirsty

adventures, when I realized that life is not limited only to dreams

about love, “that the time has come to be like everyone else, to violate your purity, to look for love without romance”, but the real one, with adventures. He boldly submitted

the proposal of Sonya, who herself did not assume the novel "in her actions:

“it would have managed us a lot of love pleasures ... if it weren’t for Natalie, into whom you

tomorrow morning you will fall in love to the grave.

And what did the student answer: “Here you are talking to Natalie ... No Natalie is with you

compare…”

And then both agree that "Natalie still won't hurt our romance."

And Natalie? And here we meet with the type of women who also

characteristic of Rus', that without them, such saints. Neither romance nor life is conceivable.

Bunin achieves great success in depicting the image of Natalie thanks to

not only to the technique-contrast used by him.

All the motives for her actions are strictness towards herself, developed over the years, the same

a rigorous analysis of the thoughts, words and deeds of other people. No such

she does not do anything, except for one thing, when she saw Sonya and Vitaly in

his room, "unconsciously shouted:" Sonya, where are you? I'm terribly afraid…”

And immediately she disappeared."

Here is all Natalie. She saw them, of course, by chance, but the nobility of the soul did not allow her to sort things out.

She leaves Sonya, breaks with this house, taking with her a holy feeling

first love. The only thing that drives Natalie's actions is nobility

her nature. This is also a character, a type.

Can it be argued that the young lover is two-faced? Or in that

and in another case he acts according to his conscience? And the answer to this question is time.

No wonder Bunin does not break the story at chapter 5, but makes it possible

the reader to see with his own eyes who is who"

Meeting (if you can call it that) Vitaly and Natalie in the Noble Assembly,

made such an impression on him that he was "terribly pale" and became

drink cognac "in tea cups, in the hope that ... your heart will break." And this

not yet the end of the romance of two young people.

And here is the last meeting between Vitaly and Natalie. Memories. Explanations. Here

that he says: “As for my terrible guilt before you, I am sure that she

has long since become indifferent to you and much more understandable,

more excusable than before: my guilt was, after all, not entirely free, and even

and at that time deserved indulgence for my extreme youth and for that amazing combination of circumstances in which I found myself. In these words,

of course, sincerity and nobility are felt. He did not blame Sonya - this

it would not be in his rules, he did not make excuses. But he regretted his

arrival to Natalie at one of the moments of the meeting: ... in vain did I do this

stupid, sudden act, stopped by in vain, relied on his calmness.

1. So love ...

2. So, there was no love for Sonya. Just a rush. Only obedience to her will!

Approve. That everything that happened in the uncle's house is a mistake of youth, for which

He (Vitaly Meshchersky) "is sufficiently punished ... by all his death."

Not the last role in the story is played by the landscape, pictures of nature, phenomena

nature. It can be considered common, characteristic of Bunin, that nature -

it is a mood companion, or a phenomenon that precedes an expected event.

On the first day of the arrival of Vitaly Meshchersky, it happened in the house of Ulan Cherkasov

unexpected: when Vitaly entered dark room, rushed at him

bat. The epithets that the author gives to this creature, he wants

to show that "ominous omen", which, in essence, came true:

vile dark velvety and eared, snub-nosed, like death, predatory muzzle, then with an ugly trembling, breaking, dived into the blackness

open window."

Throughout the story, we do not often see a landscape, and it does not play

leading role in the story. But Bunin emphasizes certain points.

At least such a moment in chapter 4, when Vitaly Petrovich suggests rain,

weather change.

And the reader is already alert: “Something will happen!” And this is how the author prefaces

conflict situation in the relationship between their characters: “... the room lit up

suddenly to an unbelievable visibility, a fresh wind blew on me and

such a noise from the garden, as if he was seized with horror: here it is, the earth and sky are on fire!

I jumped...

In this description, the excitement is transmitted from nature to the reader: alert and

"darkness from the clouds", and "the noise of the garden", which "as if terror seized".

This is the climax of the story. Dotted all overi... Natalie witnessed the love scene of Sonya and Vitaly.

The development of the action reaches its climax. Sonya is clear that Natalie is convinced of her relationship with Vitaly, Natalie is clear that Vitaly loves not only her, but also Sonya:

And in the view of Natalie, two cannot be loved at once. Vitaly is clear that he

fell into Natalie's trap. If everything is clear to everyone, then there is another question: who will do what?

But the fifth, shortest and most powerful chapter ends at the most interesting place.

And here it will become clear to the reader that if the author finds the right tone, he will remain

true to realism.

with each other, omits in the story a description of further events after an unpleasant

clash of our heroes. And he takes the reader and his characters to Voronezh to a noble assembly.

About Sony - not a word. Natalie married Meshchersky. The reader guessed:

Natalie, this whole and proud nature, with good developed sense own

dignity, not a minute will remain in the house where she was betrayed.

That's when we find out which side the author's sympathies are on. He defends the spiritual purity and integrity of Natalie's nature. That is why the story is named after her.

And now the reader will certainly turn over a few pages back and note that the author awarded his main character Natalie with such qualities

as observation and the ability to analyze events, actions, circumstances.

Ch. 3. “... began to either suffer, or be indignant, feel that there is something

secret between me and Sonya. Natalie".

Ch. 3. “But you love Sonya! ...

I blushed like a caught swindler…”

Ch. 4. Natalie: “But, thank God, Sonya is already healthy, she won’t be bored soon ...”

That is, we have before us not just an image, but a type of woman of the end XI X V., which

constituted a certain galaxy of Russians who know how to selflessly love,

women.

What artistic means help the author to achieve mastery in

depictions of heroes?

The main way to reveal the character is contrast.

Bunin is a connoisseur and master of creating characters and skillfully uses them to characterize

all the richness of the language. He not only endows his heroes with any language, but by subjecting the language to a generalizing treatment, which is generally a necessary condition

figurative reflection of life, rejects in it the characteristic, typical.

Individual forms of speech are an expression of the writer's generalizations on

about certain type of people.

So, people like Sonya are characterized by speech with elements of cynicism: “... You are for these

two years that I did not see you, turned from always flashing with shyness

boys in a very interesting impudent.

Natalie is characterized by a certain restraint, the absence of pronounced emotions, and laconicism. Her speech is also characteristic of what she says.

only that out loud that she had thought it over well: “I am convinced of one thing: in the terrible difference between the first love of a young man and a girl.”

Vitaly Petrovich: “Natalie, you don’t need to be socially amiable with me ... and

do not feel embarrassed - after all, everything that was - overgrown with past and passed without

return".

Let's comment on this piece from two sides.

First: Vitaly Petrovich "calls" Natalie to behave freely.

Why? What, Natalie is embarrassed by his presence? But she is strong enough and knows how to control herself! She has always been like this! It's a character type.

Second: the speech of the protagonist. And he, too, is still the same well-mannered, addresses Natalie to “you”, as is customary in secular society.

Striking are the epithets that play big role as artistic

figurative means and words used in the meaning, far

beyond their original meaning.

Examples: “Black eyes” and not even eyes, but “black suns”,

"golden complexion", "golden hair", "ominous omen",

"wonderful old man", "wonderful house", "secret accomplice", "secret date",

"brilliant blackness of the eyes", "thin, strong, thoroughbred ankles", "dark

red velvet roses”, “the monastic harmony of her black dress”.

All epithets are expressive.

Almost all of the examples given refer to the main person of the story - Natalie.

Here Bunin sets off two colors to emphasize the unusual nature

Natalie: gold and black. Black is like an "ominous omen"

leading to tragedy.

The tragic sound of the story is enhanced by its peculiar ending:

Natalie is dying.

"Natalie" is one of Bunin's stories, but not the only one that

ends tragically.

The action of the story "Clean Monday" takes place in old Russia.

The main character is a woman who is restless, suffering, charming, ruined

his life, having gone to the monastery: this is a living, reliable and very Russian character.

Compositionally, the story is simple and consistent. And like all Bunin's stories, before the very ending, it has a climax - the highest point

love story, and then, as a denouement - the tragedy of the soul of the protagonist.

But even at the beginning of the story there is a small touch that is so characteristic of Bunin:

the ability to tie a “beginning”, to interest the reader: “What should all this

end, I did not know and tried not to think, not to think: it was useless ...

she once and for all averted conversations about our future ... "

The action of the story is built on the contrast of two characters.

incompatibility of habitual life with internal state her soul? Even outwardly

despite the fact that "both were rich, healthy, young and so good

himself that they were “followed up with their eyes”, Bunin did not avoid the opportunity to set off the beauty and appearance of the main character with features.

"And her beauty was some kind of Indian, Persian." And then her appearance is also built on color contrasts: "Black hair", "black sable fur", "black as velvet coal eyes" and "velvety - crimson lips", pomegranate velvet dress. The word "velvet" is used very often. And this gives its flavor to our friend, who has already managed to please us.

The contrast is also in the fact that he is talkative, she is silent, which the author also emphasizes more than once. Her tastes and views are also contrasting: either she “learned the slow, somnambulistically beautiful beginning of the Moonlight Sonata”, then suddenly we see her on the “skit” of the art theater.

The landscape in the story plays a definitely special role. And the story begins with a landscape.

Here the color bears the main load: “the gray day was getting dark”, “it was visible in the dusk ...”,

“green stars”, “dimly blackening passersby”, and the verbs: “blackening, flared up;

rushed", etc. are all imperfective verbs. They seem to repeat all these actions from day to day - this is how the author conveys the periodicity, incompleteness of the action and, finally, the rhythm. But back to the landscape: not in vain, it means that she rented an apartment with a view of Moscow from the window: “a huge picture of the snowy-gray Moscow behind the river lay in the distance: ...

part of the Kremlin was visible ... the too new bulk of Christ the Savior was whitening ... "

And immediately there was a breath of antiquity, that familiar Russia, which each of us knows from childhood from Russian legends and epics, and so the “excursion” of our heroes to the cemetery is combined with this antiquity: “The evening was peaceful, sunny, with frost on the trees, on the brick - on the bloody walls of the monastery, jackdaws, like nuns, chatted ... ”This whole landscape conveys Her mood. And a premonition of something unusual seizes the reader.

And the silent question of the reader: “What is this? Bunin falls into mysticism? Religion? already noticed by the author, and he immediately answers through the lips of the heroine.

“This is not religiosity… All the time it is a feeling of the Motherland, its antiquity…” and thanks to the author's desire to pay tribute to antiquity. He seems to be leading us along the road, where you also feel the old days in the language.

From this, the story is saturated with archaisms and Church Slavonic terms from church books: a monastery, an archbishop, a face, deacons with rapids and trikiriyas, cathedrals, a kliros, the Mother of God with three hands.

And here is a moment that one cannot help but admire: “And she spoke with a quiet light in her eyes:

I love Russian chronicles, I love Russian legends so much that until then I re-read what I especially like until I memorize it.

Here she is all Russian and so simple, and so mysterious: “she was mysterious, incomprehensible to me, our relationship with her was strange”

It has already been said above that Bunin is a master of detail. The detail in this story performs very different functions.

The detail reflects the views of the hero: “barefoot Tolstoy’s porter was hanging.”

Detail - conveys a premonition, mood: "Everything is black!" - After all, tomorrow is clean

Monday,” she said, taking it out of her astrakhan muff and giving me a hand in a black kid glove.

Here I would like to give more examples of contrast in the story.

Although we cannot say that the person who narrates in the first person is frivolous, however, he is the complete opposite of Her. And thus, the author manages to better shade all Her virtues. Especially when they are philosophically-life conversations.

When he asked, "Why?" She shrugged her shoulders: “Why is everything done in the world? Do we understand anything in our actions?

Or: “Happiness, happiness ... Our happiness, my friend, is like water in a delusion: you pull, it puffed up, but to pull it out, there’s nothing.”

As you can see, a woman knows how to think philosophically no worse than how to dress with taste.

The author, talking about this interesting personality, considers it unnecessary to give the motives for the heroine's act (leaving for a monastery). He leaves that up to the reader. And what does He experience after her departure to the monastery? Is it possible to consider that some kind of fracture occurred in His soul?

Some believe that in the book "Dark Alleys" there are only female characters - types, and male characters are absent, there are only their feelings and experiences. In my opinion, it is in this story that the character is bred. Firstly, this male image reflected all the features of the Russian a person who loves and powerless to do anything for her beloved, and she, being stronger than him by nature, acts as she planned, because she could not find the answer to the questions: “... what is love”, “what is happiness”, but he did not helped. And, of course, a turning point came in his soul. He “disappeared for a long time in the dirtiest taverns, drinking himself. In every possible way sinking to the "bottom" of life ... The story ends with a question. Especially the second part of it is significant: "... how could she feel my presence?"

What gives such an open ending for the perception of the story by the reader?

The lack of an answer in the story is artistically justified. It emphasizes that She is a pure, loving nature, with her heart feels the approach of a loved one.

These types of women are found in Rus': she loves, and suffers, and suffers alone.

In all these stories, Bunin drew two female type and one male character: each of them is strong with its love and character, which the author endowed him with.

To the book "Dark Alleys", which can be called an "encyclopedia of love", one can add the story "Sunstroke", which preceded this book. In them, the author explores the most diverse degrees and states of a person, starting from the sublime, poetic experiences("Natalie"), up to "ordinary" elementary emotions. With "happy" love, when there is no more pain, flour, Bunin simply has nothing to do. He never writes about her.

“Let there be only what is…

it won't get any better…”

The stories of the cycle are an example of Russian psychological prose, in which the author made an attempt to reveal one of the eternal secrets of life - the secret of love.

Many artists attempted to solve it, but Bunin came closest to unraveling this mystery.

Used Books.

N. Lyubimov "Image Memory" (The Art of Bunin).

V. Heydeko "A. Chekhov and I. Bunin".

O. Mikhailov I.A. Bunin. "Life and creativity".4.

Bunin's stories "Natalie", "Clean Monday"

I. A. Bunin worked on the Dark Alleys cycle for many years and considered this book to be his most modern creation. Indeed, all the stories included in the collection are an example of the greatest talent of the writer.

The writer made an attempt in this book that was unprecedented in terms of artistic courage: he wrote thirty-eight times (such is the number of stories in the book) “about the same thing”. The main theme that unites the entire cycle of stories is the theme of love. But this is not just love, but love that reveals the most secret corners of the human soul, being both the basis of life and the eternal dream of happiness, the desire for it. And which, alas, we so often miss.

For Bunin, love is an unsolved mystery. Love experiences in the image of the writer are associated with an unprecedented rise in all the emotional abilities of a person, allowing a person to see and perceive life in a special dimension that contrasts with the everyday perception of life. This special vision and perception of life is not given to everyone, but only to the elect, to those who are given a happy (and always the only) opportunity to experience the painful joy of love.

Love in Bunin's works allows a person to accept life as the greatest gift, to acutely feel the joy of earthly existence, but this joy for the writer is not a blissful and serene state, but a tragic feeling, colored by anxiety. In this feeling, joy and torment, sadness and jubilation are fused into a single, indissoluble whole. "Tragic major" - this is how the pathos of Bunin's stories about love was defined by the critic of the Russian abroad Georgy Adamovich: places, the sun is the sun, love is love, good is good.

Each hero of Bunin's works has his own individual traits and qualities of character. And Bunin, as a true artist and master, achieves perfection in depicting the individual characters of his heroes.

What artistic means does the author use to create these characters? To answer this question, let us turn to the works themselves and try to analyze them.

For analysis, let's take the works included in the cycle "Dark Alleys". These are the stories "Natalie" and "Clean Monday".

The story "Natalie" is included in the book "Dark Alleys", which Bunin considered the best book of all that he had created.

The idea of ​​the story and its prototypes are interesting. Many believed, and even close acquaintances of Bunin were inclined to think that this story was autobiographical. But the author himself wrote about it this way: “It somehow occurred to me ... should I invent a young man who went in search of love adventures? And at first I thought it was going to be a series of pretty funny stories. But it turned out completely, completely different.”

The story tells about the sublime, poetic experiences of young people, taken by surprise by love. The writer is concerned not just with "unexpected" love, but first and foremost, true, human, earthly love, the harmony of bodily and spiritual unity. Such Love is a great happiness, but happiness is just like lightning: it flared up and disappeared. The story is told in the first person. The main character is a student who came to his uncle during the summer holidays. Thus, all events in the story are perceived by the reader through the prism of the protagonist's gaze.

The main plot lines of the story are intertwined:

Vitaly - Natalie

Vitalia - Sonya

Sonya - Natalie.

How does the author succeed in such "intricacies" of the main characters? What secrets did he possess to give what vivid characteristics to such people with different content? Let's try to analyze. Bunin, as you know, rewards his heroes with some specific detail that accompanies them throughout the story.

So Natalie's "golden hair" and her "black eyes" constantly haunt us until the last chapter, and we, regardless of our desire, already create a certain image in our minds. It seems to be the author's luck. In addition, the characteristics of the heroes are given by the heroes themselves. And this creates a certain credibility to the characterization. The author, through this detail, wants to suggest the essence of the character, his main feature.

1. Vitaly is characterized by Sonya, who immediately noticed that he “generally changed a lot, became light, pleasant. That's just the eyes run. We emphasize here the two words “eyes run”, and it will immediately become clear that this is also an unstable character, and the inability to find oneself, and “search for love meetings” - it was for this purpose that our hero came to the village to his uncle.

2. Sonya also gives a description of Natalie: “Golden” hair and black eyes. These "golden" hair and black eyes "will accompany Natalie throughout the story.

3. Sonya herself characterizes herself: “My character is not at all as cute as you might think!”

In general, each character is revealed in its interaction with other characters. And Bunin so combines phenomena with each other that they complement each other: a phenomenon, a character become clear to us precisely in movement in development, in connection with other phenomena. It is easy to see that in this story all the characters, all the details do not immediately come into play. The author gradually introduces either character or individual properties of the character. So the figurative composition of the story no longer indirectly participates in the depiction of the character, but directly “finishes” the portrait.

All chapters are arranged in the following order and have the following content:

1 - Arrival of Vitaly, Sonya and Vitaly.

2 - Meeting with Uncle Vitaly. Meeting Natalie.

3 - First dialogue with Natalie. Natalie's insight.

4 - Sony's disease. Vitaly's monologue. Explanation with Natalie.

5 - "Earth and sky light up" (climax).

6 - A year later ... in the Noble Assembly "And another year and a half passed" Meshchersky's funeral

7 - Meeting with Natalie after 3 years. Hopelessness. Death.

The main character of the story, Natalie, appears only in the second chapter and does not leave the pages until the end of the story. And Sonya appears at the very beginning of the first chapter, but in the sixth chapter and the seventh chapter - not a word is said about her.

So Natalie comes to the fore among all the heroes of the story. And although she does not speak so often and not so much, we know that she becomes the main character precisely because all Vitaly's thoughts and heart are occupied with her, and Natalie bears the main burden of the story. So the composition of the parts of the story helps us understand the depth of the character of the characters.

What guides the actions of our heroes? What is the basis of their behavior? What thoughts? Feelings? That is, what motivates each of the actions. Let's take a concrete example: Sonya and Vitaly's secret meeting in his room. Sonya not only goes to this act. Moreover, she herself came up with this idea, and now embodies it. What makes Sonya do this? The motive of her soul is explained by the fact that Sonya, growing up without a mother, matured very quickly. And she can't cope with her adulthood. And there is no one to help.

Therefore, using the circumstances, Sonya chooses this path. But at the same time, she reserves the right to decide the main issue of her life: she needs to find ... Sonya needs to “find such a groom as soon as possible. That he would come to us "in the yard", - she herself says. And we understand that before us is a prudent, adventurous girl, prone to intrigue, which was not such a rare occurrence in Russia at that time. Bunin, of course, knew well the customs of the nobles of the late 19th century, early 20th century, knew life in all its details, and it was not difficult for him to imagine and create such a character as Sonya.

Dexterous and courageous in her actions, she immediately determined: “Natalie will not interfere with our romance with you. You will go crazy with love for her, and you will kiss with me. You will cry on my chest from her cruelty, and I will console you. ” Of course, the reader immediately guessed that the last phrase was uttered by Sonya rather for greater effect than for real action, and yet Sonya acts as a clearly defined female type that takes place not only in Bunin's prose, but also in life.

Sonya continues her "game" in the second chapter. She finds a place, a time to whisper to her chosen one: “From now on, please pretend that you fell in love with Natalie. And watch out if it does. You don't have to pretend." And what prompted our young man to this double game? Why did he get involved so easily? Is it always the same? Or changing position?

Our protagonist, student Vitaly, “was happy with that special happiness of starting a young free life that happens only at this time.” He longed for adventure when he realized that life is not limited only to dreams of love, “that it is time to be like everyone else, violate your purity, seek love without romance”, but the real one, with adventure. He boldly obeyed the suggestion of Sonya, who herself did not assume a romance "in her actions:" this would have managed us a lot of love pleasures ... if it were not for Natalie, with whom you will fall in love to the grave tomorrow morning.

And what did the student answer: “Here you are talking to Natalie ... No Natalie can compare with you ...”

And then both agree that "Natalie still won't hurt our romance." And Natalie? And here we meet with the type of women who are just as characteristic of Rus', without them, such saints. Neither romance nor life is conceivable. Bunin achieves great success in depicting the image of Natalie thanks not only to the contrast technique he uses.

All the motives for her actions are strictness towards herself, developed over the years, the same strict analysis of the thoughts, words and actions of other people. She does not commit any such acts, except for one, when she saw Sonya and Vitaly in his room, “unconsciously shouted:“ Sonya, where are you? I'm terribly afraid ... "And immediately disappeared."

Here - the entire Natalie. She saw them, of course, by chance, but the nobility of the soul did not allow her to sort things out.

She leaves Sonya, breaks with this house, taking with her the holy feeling of first love. The only thing that drives Natalie's actions is the nobility of her nature. This is also a character, a type.

Can it be argued that the young lover is duplicitous? Or does he act according to his conscience in both cases? And the answer to this question is time. It is not for nothing that Bunin does not interrupt the story at chapter 5, but gives the reader the opportunity to see with his own eyes who is who.

The meeting (if you can call it that) Vitaly and Natalie in the Noble Assembly made such an impression on him that he was "terribly pale" and began to drink cognac "in tea cups, in the hope that ... his heart would break." And this is not the end of the romance of two young people.

And here is the last meeting between Vitaly and Natalie. Memories. Explanations. Here is what he says: “As for my terrible guilt before you, I am sure that it has long since become indifferent to you and is much more understandable, forgivable than before: my guilt was still not entirely free and even at that time, she deserved indulgence due to my extreme youth and the amazing combination of circumstances in which I found myself. In these words, of course, sincerity and nobility are felt. He did not blame Sonya - it would not be in his rules, he did not make excuses. But he regretted his arrival to Natalie at one of the moments of the meeting: ... in vain I did this stupid, sudden act, in vain I stopped by, relied on my peace of mind.

1. So love ...

2. So, there was no love for Sonya. Just a rush. Only obedience to her will!

Not the last role in the story is played by the landscape, pictures of nature, natural phenomena. It can be considered common, characteristic of Bunin, that nature is a mood companion, or a phenomenon that precedes an expected event. On the first day of Vitaly Meshchersky's arrival, the unexpected happened at the house of Ulan Cherkasov: when Vitaly entered the dark room, a bat rushed at him. The epithets that the author endows with this creature, he wants to show that “ominous omen”, which, in essence, came true: “vile dark velvety and eared, snub-nosed, death-like, predatory muzzle, then with nasty trembling, breaking, dived into blackness open window."

Throughout the story, we do not often see the landscape, and it does not play a dominant role in the story. But Bunin emphasizes certain points. At least such a moment in chapter 4, when Vitaly Petrovich suggests rain, a change in the weather.

And the reader is already alert: “Something will happen!” And this is how the author anticipates the conflict situation in the relationship between his characters: “... the room suddenly lit up to an incredible visibility, I was carried by a fresh wind and such a noise from the garden, as if he was seized with horror: here it is, the earth and sky are on fire! I jumped...

In this description, the excitement is transmitted from nature to the reader: both the “darkness from the clouds” and the “noise of the garden”, which “as if terror seized”, are alarming.

This is the climax of the story. Dotted all i ... Natalie witnessed the love scene of Sonya and Vitaly.

The development of the action reaches its climax. Sonya is clear that Natalie is convinced of her relationship with Vitaly, Natalie is clear that Vitaly loves not only her, but also Sonya: And in Natalie's view, two cannot be loved at once. It is clear to Vitaly that he has fallen into Natalie's trap. If everything is clear to everyone, then there is another question: who will do what? But the fifth, shortest and most powerful chapter ends at the most interesting place.

The author finds the right tone. He saves the reader from scenes of indecent explanations with each other, omits the description of further events in the story after the unpleasant collision of our heroes. And he takes the reader and his characters to Voronezh to a noble assembly.

About Sony - not a word. Natalie married Meshchersky. The reader guessed: Natalie, this whole and proud nature, with a well-developed self-esteem, will not stay for a minute in the house where she was betrayed.

That's when we find out which side the author's sympathies are on. He defends the spiritual purity and integrity of Natalie's nature. That is why the story is named after her.

And now the reader will certainly turn over a few pages back and note that the author awarded his main character Natalie with such qualities as observation and the ability to analyze events, actions, circumstances.

Ch. 3. “... she began to either suffer, or be indignant, to feel that there was something secret between me and Sonya. Natalie".

Ch. 3. “But you love Sonya! ... I blushed like a caught swindler ...”

Ch. 4. Natalie: “But, thank God, Sonya is already healthy, she won’t be bored soon ...”

That is, we have before us not just an image, but a type of woman of the late 19th century, who made up a certain galaxy of Russian women who know how to love selflessly.

The main way to reveal the character is contrast.

Bunin is a connoisseur and master of creating characters and skillfully uses all the richness of the language to characterize them. He not only endows his heroes with any language, but, by subjecting the language to a generalizing treatment, which in general is a necessary condition for the figurative reflection of life, rejects the characteristic, typical in it. Individual forms of speech are an expression of the writer's generalizations about a certain type of people.

So, people like Sonya are characterized by speech with elements of cynicism: "... Over the two years that I have not seen you, you have turned from a boy who is always flashing from shyness into a very interesting impudent one."

Natalie is characterized by a certain restraint, the absence of pronounced emotions, and laconicism. It is also characteristic of her speech that she only says aloud what she has thought over well: “I am convinced of one thing: in the terrible difference between the first love of a young man and a girl.”

Vitaly Petrovich: “Natalie, you don’t need to be socially amiable with me ... and don’t feel embarrassed - after all, everything that was was overgrown with past and passed without return.”

Let's comment on this piece from two sides.

First: Vitaly Petrovich "calls" Natalie to behave freely. Why? What, Natalie is embarrassed by his presence? But she is strong enough and knows how to control herself! She has always been like this! It's a character type.

Second: the speech of the protagonist. And he, too, is still the same well-mannered, addresses Natalie to “you”, as is customary in secular society.

Epithets are also striking, which play a large role as artistic means of representation and words used in a meaning far beyond their original meaning.

Examples: “Black eyes” and not even eyes, but “black suns”, “golden complexion”, “golden hair”, “ominous omen”, “wonderful old man”, “wonderful house”, “secret accomplice”, “secret date”, “the brilliant blackness of the eyes”, “thin, strong, thoroughbred ankles”, “the dark red velvet of a rose”, “the monastic harmony of her black dress”. All epithets are expressive.

Almost all the examples given refer to the main person of the story - Natalie. Here Bunin sets off two colors to emphasize the unusual nature of Natalie: golden and black. Black is like an "ominous omen" leading to tragedy.

The tragic sound of the story is enhanced by its peculiar ending: Natalie dies.

"Natalie" is one of Bunin's stories, but not the only one that ends tragically.

The action of the story "Clean Monday" takes place in old Russia. The main character is a woman, restless, suffering, charming, who ruined her life by going to a monastery: this is a living, reliable and very Russian character. Compositionally, the story is simple and consistent. And like all Bunin's stories, before the very ending, it has a climax - the highest point of a love story, and then, as a denouement - the tragedy of the main character's soul. But even at the beginning of the story there is a small touch that is so characteristic of Bunin: the ability to tie a “beginning”, to interest the reader: “How it all should end, I didn’t know and tried not to think, not to think: it was useless ... diverted the conversation about our future…”

The action of the story is built on the contrast of two characters. How does the author manage to convey in the main character of the story the incompatibility of habitual life with the inner state of her soul? Even outwardly, despite the fact that “both were rich, healthy, young and so good-looking that they were“ seen off with their eyes ”, Bunin did not avoid the opportunity to set off the beauty and appearance of the main character with features.

"And her beauty was some kind of Indian, Persian." And then her appearance is also built on color contrasts: "Black hair", "black sable fur", "black as velvet coal eyes" and "velvety crimson lips", pomegranate velvet dress. The word "velvet" is used very often. And this gives its flavor to our friend, who has already managed to please us.

The contrast is that he is talkative, she is silent, which the author also emphasizes more than once. Her tastes and views are also contrasting: either she “learned the slow, somnambulistically beautiful beginning of the Moonlight Sonata”, then suddenly we see her on the “skit” of the art theater.

The landscape in the story plays a definitely special role. And the story begins with a landscape. Here, the main load is borne by color: “a gray day was getting dark”, “it was visible in the dusk ...”, “green stars”, “dimly blackening passers-by”, and the verbs: “blackening, flared up; rushed ", etc. - these are all imperfective verbs. They seem to repeat all these actions from day to day - this is how the author conveys the periodicity, incompleteness of the action and, finally, the rhythm. But back to the landscape: not in vain, it means that she rented an apartment with a view of Moscow from the window: “a huge picture of the snowy-gray Moscow beyond the river lay in the distance: ... part of the Kremlin was visible ... the too new bulk of Christ the Savior was whitening ... "And immediately there was a breath of antiquity, that familiar Russia, which each of us knows from childhood from Russian legends and epics, and so the "tour" of our heroes to the cemetery is combined with this antiquity: "The evening was peaceful, sunny, with frost on the trees, on the brick -On the bloody walls of the monastery, jackdaws, like nuns, chatted ... ”This whole landscape conveys Her mood. And a premonition of something unusual seizes the reader.

And the silent question of the reader: “What is this? Bunin falls into mysticism? Religion? already noticed by the author, and he immediately answers through the lips of the heroine.

“This is not religiosity... All the time this is a feeling of the Motherland, its antiquity...” and thanks to the author's desire to pay tribute to antiquity. He seems to be leading us along the road, where you also feel the old days in the language.

From this, the story is saturated with archaisms and Church Slavonic terms from church books: a monastery, an archbishop, a face, deacons with rapids and trikiriyas, cathedrals, kliros, the Mother of God with three hands.

And here is a moment that one cannot help but admire: “And she spoke with a quiet light in her eyes:

I love Russian chronicles, I love Russian legends so much that until then I re-read what I especially like until I memorize it.

Here she is all Russian and so simple, and so mysterious: “she was mysterious, incomprehensible to me, our relationship with her was strange”

It has already been said above that Bunin is a master of the detail. The detail in this story performs very different functions.

The detail reflects the views of the hero: “barefoot Tolstoy’s porter was hanging.”

Detail - conveys a premonition, mood: "Everything is black!" - After all, tomorrow already Clean Monday- she said, taking out of the astrakhan muff and giving me a hand in a black kid glove.

Although we cannot say that the person who narrates in the first person is frivolous, however, he is the complete opposite of Her. And thus, the author manages to better shade all Her virtues. Especially when they are philosophically-life conversations.

When he asked, "Why?" She shrugged her shoulders: “Why is everything done in the world? Do we understand anything in our actions?

Or: “Happiness, happiness ... Our happiness, my friend, is like water in a delusion: you pull - you pout, but you don’t have anything to pull out.”

As you can see, a woman knows how to think philosophically no worse than how to dress with taste. The author, talking about this interesting personality, considers it unnecessary to give the motives for the heroine's act (leaving for a monastery). He leaves that up to the reader. And what does He experience after her departure to the monastery? Is it possible to consider that some kind of fracture occurred in His soul?

Some believe that in the book "Dark Alleys" there are only female characters - types, and there are no male characters, there are only their feelings and experiences. In my opinion, it is in this story that the character is bred. Firstly, this male image reflected in itself all the features of a Russian person - loving and powerless to do anything for her beloved, and she, being stronger than him by nature, acts as she planned, because she could not find an answer to the questions: “ ... what is love”, “what is happiness”, but he did not help her. And, of course, a turning point came in his soul. He “disappeared for a long time in the dirtiest taverns, drinking himself. In every possible way sinking to the "bottom" of life... The story ends with a question. Especially the second part of it is significant: "... how could she feel my presence?"

What gives such an open ending for the perception of the story by the reader? The lack of an answer in the story is artistically justified. It emphasizes that She is a pure, loving nature, with her heart feels the approach of a loved one. These types of women are found in Rus': she loves, and suffers, and suffers alone. And the author? What position does he take in relation to his heroine? The author clearly loves his creation. And he wrote about it in his diary.

In all these stories, Bunin drew two female types and one male character: each of them is strong in its love and character, which the author endowed him with. To the book "Dark Alleys", which can be called an "encyclopedia of love", one can add the story "Sunstroke", which preceded this book. In them, the author explores the most diverse degrees and states of a person, starting with sublime, poetic experiences (“Natalie”), up to “ordinary” elementary emotions. With "happy" love, when there is no more pain, flour, Bunin simply has nothing to do. He never writes about her.

“Let there be only what is ... it won’t be better ...”

The stories of the cycle are an example of Russian psychological prose, in which the author made an attempt to reveal one of the eternal secrets of life - the secret of love. Many artists attempted to solve it, but Bunin came closest to unraveling this mystery.

Used Books

1. N. Lyubimov "Image Memory" (The Art of Bunin).

2. V. Geydeko “A. Chekhov and I. Bunin.

3. O. Mikhailov I. A. Bunin. "Life and creativity".4.

4. Bunin's stories "Natalie", "Clean Monday"

1. Khodasevich on the work of Bunin.
2. Landscape in the writer's work.
3. The meaning of the landscape in Easy Breath.
4. Landscape and symbols in The Man from San Francisco.

I. A. Bunin is a brilliant writer of the early 20th century, who entered Russian literature as a poet and prose writer. He entered the galaxy of artists of the word silver age, however, he also worked after the end of this era, continuing the traditions of the Symbolists in his works:

Birds are not visible. Dutifully languishes
The forest, deserted and sick.
Mushrooms are gone, but smells strong
In the ravines with mushroom dampness.
And, lulled by horseback step,
With joyful sadness I will listen,
Like the wind with a monophonic ringing
Buzzing-singing into the barrels of a gun.

One of the most famous poets and critics who worked while in exile, V. F. Khodasevich believed that “... emigration made Bunin his favorite, Bunin's early poetic steps coincided with the beginning of symbolism; Until the last minute, the symbolists considered Bunin theirs, but a break followed very soon. And indeed, after some time, Bunin the poet becomes Bunin the writer, who later received the Nobel Prize for creating works of genius small volume. About this gap, Khodasevich writes the following: “... in comparison with the Symbolists, Bunin, as it were, puts the form in place: he reduces its role, cuts off its rights ... its form, of course, is impeccable ... noble and restrained, which saves Bunin from cheap effects. The symbolist is the creator of his landscape, Bunin is more humble and chaste: he wants to be a contemplative.”

The landscape has a special meaning for Bunin. There is practically no work where there would not be a landscape depicted easily and at the same time visibly. The peculiarity of the image of nature in Bunin is that it is not so much material as psychological. The main task of the author is not to give the reader a photographically accurate description of the area, but to convey a subtle mood, emotions, in the power of which both the hero and the author himself are.

Often the landscape in Bunin's stories bears important function psychological parallelism, that is, it serves as an object that reveals the character of the hero or emphasizes his thoughts, emotions, spiritual impulses. This approach is of great importance in overall composition"Light Breath" story.

Here, the subject detailing deliberately used by the author is noticeable. In other words, the landscape in the story is not just a decoration of the main events, but an indirect method of creating the character's character. This is a traditional technique for Russian literature. For example, to create the image of Natasha Rostova, the admiration of a girl on a summer night became important, and the old oak performs a symbolic function for revealing state of mind Andrei Bolkonsky. Olechka’s light breathing is facilitated by emphasizing its purity and sincerity, such landscape details as “fresh, sunny winter”, “snowy garden”, “radiant sun”, “pink evening”, “stones that are easy and pleasant to walk on”. At the end of the work, after reading the entry in the heroine's diary: “... it seemed to me that I was alone in the whole world,” the reader observes the method of scattering. And this scattering, enumeration of landscapes previously noted by the author (garden, city, skating rink, field, forest, wind, sky, the whole world) creates an open space of the heroine - a macro landscape of the entire work.

When analyzing, it is necessary to say about the interior in the text of the work: the gymnasium, the headmistress's office, the glass veranda, the "brilliant hall" in the royal portrait ... This is a closed, in contrast to the landscape, space of the heroine. But it, like nature, is not hostile to it. During a serious and unpleasant conversation with a classy lady that takes place in the director's office, Olya does not look upset, confused or frightened. On the contrary, she is pleased with the interior of the office, its spaciousness and the ease with which she breathes in it, the freshness of lilies of the valley, the warmth of the Dutch stove, the portrait of the king and even the parting in the milky-white hair of the boss. The heroine is not at all focused on the conflict with the headmistress, not on the conversation or the opponent, she has a “romance” with the royal portrait behind the cool lady.

The detail in Bunin's works does not work to create a plot, it is self-sufficient and valuable in itself, as an indicator of the author's attention to the setting and appearance of his characters. The author consistently and very visibly, up to almost physical sensations, organizes his art world. The reader clearly hears and sees the smoothness and heaviness of an oak cross, the sound of wind in a porcelain wreath, a thread and a ball on a lacquered floor, and much more, although the description itself is rather laconic and gives the impression of an abstract one. External details are necessarily present in the description of the appearance of the characters. Even Olya's story about her passion for Malyutin comes down to accurate and detailed description horses, clothes, beards, eyes and the smell of a man's English cologne. The emphasis is shifted from the event part of the story towards the features of the appearance of the characters and the environment. At the end of the work, two details merge - the portrait of the heroine and the cold spring wind.

The significance of the landscape and symbols is also great in the story "The Man from San Francisco". There are a lot of allegories and associations here. The ship "Atlantis" symbolizes the whole civilization, the main character without a name is an allegorical image of a bourgeois society, where people eat tasty food, dress elegantly and do not care about the world around them. This person lives exclusively for himself and for himself, he is enclosed in a case - a ship sailing on the sea - the outside world. Description of the sea seascapes the strongest aspects of the story are that they fascinate the reader, frighten. The sea is raging and angry, but this does not touch the passengers of the ship, just as the people who control the ship and who are next to the huge boiler of the firebox, which the author called the ninth circle of hell, do not touch them.

The story contains many allegories from the Bible, underlined by accurate description and attention to detail. So, the dark, dirty place of the hold, illuminated by crimson flames, symbolizes hell. Here is the writer's hint that a person bought his wealth and comfort at the expense of the souls of people who were in the hold, and it is for this that he is destined to pay with death.

Of great importance for understanding the general plan is the image of a giant, like a cliff, a demon, which is a symbol coming catastrophe. The ending of the story is also symbolic, when the fun continues even after the death of the protagonist, who has taken his place in an empty soda box. And the ballroom music continues to rumble "among the furious blizzard that swept over the buzzing, like a funeral mass ... ocean."

In many of his works, Bunin refers to the theme of life, to its meaning. For the author, it does not consist in the accumulation of wealth or the acquisition of status in society, but in a breath as light as spring itself and a deep feeling of love for others and for this mortal world.

... Nature is a mentor and

inspirer

V.G. Belinsky

Spring. Birds are chirping outside the window, the rays of the sun penetrate the windows and illuminate the entire room. My heart is so light and calm. There is a desire to plunge into the atmosphere of harmony of the surrounding world. Lines immediately pop up in my head: “The forest, like a painted tower, / Lilac, gold, crimson, / A cheerful, motley wall / Stands over a bright meadow.” These lines belong to the great Russian poet and prose writer I.A. Bunin.

The favorite themes of his work are the themes of nature, the relationship between man and the world around him, love. Many writers turned to the theme of nature, but unlike his predecessors, Bunin considers it in a new way. His special perception of nature is intertwined with yearning for unknown beauty, for goodness, which is so scarce on earth. Not finding beauty in people, the poet looks for it in nature. The statement of F.D. Batyushkov that "Bunin lives by the sensations of nature." Indeed, in Bunin's poetry, native paintings are given a dominant place. Bunin's love for nature is tender and painful love. This is love for the world, infinitely close to his soul. He cannot but admire the most delicate colors of Russian nature, and draw amazing and infinitely beautiful and touching landscapes. With an inexhaustible variety of poetically original and always accurate drawings, Bunin creates innumerable pictures of nature in prose and verse.

Considering the lyrics, it should be noted that Russian nature appears in all its variety of colors, sounds, smells:

Birches with yellow carving

Shine in blue azure,

Like towers, Christmas trees darken,

And between the maples they turn blue

Here and there in the foliage through

Clearances in the sky, that windows.

We see with what love, with what pleasure the author describes everything that surrounds him. His love for nature turned into a cult of beauty. That graceful simplicity, the perfect accuracy of the drawing, of its every detail, are added to beautiful painting.

It is no coincidence that autumn is Bunin's favorite season. The time of withering is most suitable for light-sad memories of the irrevocably gone. Bunin does not like bright colors, as well as the powerful voices of nature.

We also find magnificent pictures of nature in the prose of I.A. Bunin. In the Epitaph, he paints autumn like this: “Autumn also cleaned the birch in a golden dress. And the birch rejoiced and did not notice how short-lived this dress was, how it crumbled leaf after leaf, until, finally, all naked was left on its golden carpet ... And rainbow cobwebs quietly flew near it in the glare of the sun, quietly sat down on dry, prickly stubble ... "From this passage it is clear that Bunin generously draws paint to create paintings that are unique in their kind. In the autumn landscape, undisturbed peace is poured by nothing and no one. The brightest paint conveys the color of a leaf gilded in autumn, a yellowing stubble. Bunin's autumn landscape is predominantly clean, clear, meek.

In the story "Dreams" the autumn landscape is somehow especially bleak. Apparently, because even the “light spot” in it makes a depressing impression: around the station, the personification of the provincial wilderness, there is a cold field, over which fog spreads and the wind walks.

Man in Bunin's stories is inseparable from nature. Pointing to a tradesman waiting for the train, the hero says: “His wife is dying in childbirth… Everyone, therefore, has his own grief…” His experiences, thoughts are determined by the relationship with the environment.

But sometimes his peace is disturbed by violent gusts of wind, rain, and a gloomy veil of bad weather descends from the darkened sky, extinguishing the golden color of autumn. The writer needs pictures of this change to highlight all the charm of the clear peace of autumn, when nature comes out washed, renewed and then puts on a new, winter outfit.

The writer, in love with nature, sees that its beauty and harmony are violated by the ugliness of life, grief and poverty. Here are the lines from the story “Kastryuk”: “It was cool and cozy in Riga. In its soft darkness, swallows flew up from the depths of the clear spring sky ... The morning sun gently warmed the earth, and thin vapor above it trembled like spring. And further: “Hot stale air stood in an empty hut. The sun, through small, muddy pieces glued together from pieces, beat with hot rays on the warped board of the table, which, together with crumbs of bread and a large spoon, was covered in a black swarm of flies.

In describing nature, Bunin often resorts to artistic and visual means. A favorite trick is that to the usual combination of epithets that are not yet endowed with figurative volume, plastic completeness, a touch is added that magically creates the integrity of the image. So, in the story “Antonov apples” we read: “A hawk will take off from somewhere in the transparent air ...” The image is not yet complete, we sensually do not imagine a soaring bird. But then Bunin finishes drawing: "... and freezes in one place, fluttering with sharp wings," and the picture visibly appears before us.

And here is another example: “... clearly visible telegraph poles run away into a clear distance, and their wires, like silver strings, slide along the slope of a clear sky ...” Elegantly said, but there is no image yet, and the silver strings of wires do not stand out very much in a clear sky. However, this is only the preparatory part. Bunin adds: "Kobchiks are sitting on them - completely black badges on music paper." Due to the fact that the image is metaphorical, we can clearly imagine the picture drawn by the writer.

In my opinion, the landscape in Bunin's work is not just the artist's sketches, penetratingly feeling the beauty of his native fields and forests. The landscape not only sets off and emphasizes the feeling of the hero. Nature in Bunin's stories explains a person, forms his aesthetic feelings. That is why the writer seeks to capture all its shades. Perhaps the secret of Bunin's beautiful images of nature lies in the amazing combination of soft lyricism and extreme accuracy, even in details.