From the beginning of his creative activity, the poet found his own style, his themes, his original manner. Many poems reflected the state of mind of young Bunin, his inner world, subtle and rich in shades of feelings. Clever, quiet lyrics were similar to a conversation with a close friend, but amazed contemporaries with high technique and artistry. Critics unanimously admired Bunin's unique gift to feel the word, his skill in the field of language. Many exact epithets and comparisons were drawn by the poet from the works of folk art, both oral and written. K. Paustovsky appreciated Bunin very much, saying that each of his lines was as clear as a string.
A rich artistic perception of nature, the world and man has become hallmark Bunin's poetry. Gorky compared Bunin the artist with Levitan in terms of skill in creating a landscape. “So to know and love nature, as Bunin knows how, few people know how. Thanks to this love, the poet looks vigilantly and far, and his colorful and auditory impressions are rich,” A. Blok wrote. Such an artistic perception of nature, the world, man has become distinctive feature Bunin's creativity. Block said it after in 1901 Bunin's first collection "Leaf Fall" was published, which included all the best of Bunin's early poetry, including the poem of the same name. The leitmotif of the collection is an elegiac farewell to the past. These were poems about the motherland, the beauty of its sad and joyful nature, about the sad sunsets of autumn and the dawns of summer. The poet says goodbye to childhood, the world of dreams. The motherland appears in the poems of the collection in wonderful pictures of nature, evoking a sea of feelings and emotions. The image of autumn is the most common in Bunin's landscape lyrics. The poetic work of the poet began with him, and until the end of his life this image illuminates his poems with a golden glow. In the poem "Falling Leaves" autumn "comes to life". In the poems of the collection "Leaf Fall" Russian nature appears in all its variety of colors, sounds, smells. Here Bunin's taste for multifaceted descriptiveness, a kind of "epic lyrics" and symbolism is revealed. The captivating beauty of this work is immediately realized by the reader: he cannot remain indifferent to this poetic panorama of the forest at the time of its withering, when the bright colors of autumn are changing before our eyes, and nature is undergoing its mournfully inevitable renewal.
Forest, like a painted tower,
Purple, gold, crimson,
Cheerful, colorful wall
It stands over a bright meadow.
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.
The forest smells of oak and pine,
During the summer it dried up from the sun
And Autumn is a quiet widow
He enters his motley tower.
(Listopad, 1900)
The close fusion of the painted pictures with folklore images of Russian colors and beliefs is also captivating. Hence the extended assimilation of the forest to a huge painted tower with its walls, windows and wonderful folk carvings. The forest is beautiful, but with sad obviousness it is changing, emptying like a home: it is dying, like the whole way of life that has developed over the years. Just as a person becomes more and more alienated from nature, so the lyrical hero is forced to tear the threads that bind him with his kindred penates, his father's land, the past. Such subtext underlies the poem and forms the symbolic image of Autumn, whose name is spelled with capital letter. She is also called a widow, whose happiness, like that of a lyrical hero, turns out to be short-lived. This determines the symbolic and philosophical nature of the poem, the originality of its moral and aesthetic problems and the features of its genre.
In the formation of Bunin's pictorial and descriptive style, the influence of K. Sluchevsky and the poetry traditions of A. Fet, A.K. Tolstoy, Ya. Polonsky. A.S. had a great influence on the formation of Bunin's poetic consciousness. Pushkin. But, perhaps, the most lasting influence on him was the philosophical lyrics of F. Tyutchev, perceived through the prism of Pushkin's poetry. Tyutchev's motif of the disharmony of love and death was removed by the desire to realize the general harmony of the world, the motif of the frailty of being - the affirmation of the eternity and incorruptibility of nature, which contains the source of eternal harmony and beauty. Human life in this sense is always correlated by Bunin with the general flow of world existence..
My spring will pass, and this day will pass,
But it's fun to wander around and know that everything passes,
Meanwhile, as the happiness of living forever will not die,
As long as the dawn brings the dawn above the earth
And young life will be born in its turn.
(Forest Road)
Inheriting the traditions of his predecessors, Bunin already during this period declares himself as an artist with his own, original philosophy of the world and a system of aesthetic views. He remains true to the traditions of Russian classical poetry, which were developed by Fet, Tyutchev, Baratynsky, Polonsky and others. He writes realistic lyrical poetry and did not seek to experiment with words. The riches of the Russian language and the events of reality were quite enough for the poet.
In poetry, Bunin tried to find the harmony of the world, the meaning of human existence. In the artistic world of Bunin one can see - the "tragic foundations" of the national Russian character and historical destinies Russia. Bunin's understanding of the essence of the human personality, the role of nature in life modern man, motifs of love, death and the transforming power of art. One of the emotional dominants of Bunin's artistic world is feeling of loneliness, not even in the sense of a lonely existence, but the loneliness of the eternal, universal - as an inevitable and insurmountable state human soul. This feeling of complete loneliness of a person in the world will always accompany him.
Through the windows I see the glitter and the distance of the Mountains, the naked hills. The golden motionless light I lay down to my bed. There is no one in the sublunar world, Only me and God. Only he knows my Dead sadness, The one that I melt from everyone ... Cold, shine, mistral.
(Night, 1952)
Constant loneliness is accompanied a feeling of longing:
A black velvet bumblebee, a golden shoulder, Mournfully buzzing with a melodious string, Why do you fly into a human dwelling And seem to yearn with me?
(The last bumblebee)
The unknowable mystery of the world gives birth in the writer's soul at the same time "sweet sorrowful feelings": a languishing feeling of longing is invariably mixed with the feeling of joy of intoxication with life. The joy of life for Bunin is not a blissful and serene state, but a feeling of tragedy, colored by longing and anxiety. That is why love and death always go hand in hand with him, unexpectedly connecting with creativity.
Bunin asserted the eternity and wisdom of nature, defined it as an inexhaustible source of beauty. Bunin's life is always inscribed in the context of nature. He was confident in the rationality of all living things and argued that "there is no nature separate from us, that every slightest movement of air is the movement of our own life." Here, for example, the feelings of a lyrical hero are transmitted through nature:
The last moments of happiness! Autumn already knows what a deep and mute peace is - A harbinger of a long bad weather.
(Listopad, 1900)
The time will come - the Lord of the prodigal son will ask: “Were you happy in earthly life?” And I will forget everything - I will only remember these Field paths between ears of corn and grass - And I will not have time to answer from sweet tears, Crouching to merciful knees. .And flowers, and bumblebees, and herbs, and ears of corn...")
Landscape lyrics gradually become philosophical. In a poem, the main thing for the author is the thought.
When revolutionary processes had already begun in the country, they were not reflected in Bunin's poems. He continued the philosophical theme. It was more important for him to know not what, but why something happens to a person. The poet correlated the problems of modernity with the eternal categories - good, evil, life and death. Trying to find the truth, he turns to history in his work. different countries and peoples.
The poet wanted to understand the general laws of development of society and the individual. He recognized earthly life as only a segment of the eternal life of the Universe. From here arise the motives of loneliness, fate. Bunin foresaw the catastrophe of the revolution and perceived it as the greatest misfortune. The poet is trying to look beyond reality, to unravel the mystery of death, the gloomy breath of which is felt in many poems. A sense of doom is caused in him by the destruction of the noble way of life, the impoverishment and destruction of landowners' estates. Despite his pessimism, Bunin saw a way out in the fusion of man with wise mother nature, in her peace and eternal beauty.
Often there is an image of dreams, dreams and memories. (I think it adds some romance. lyrical hero). Again, the theme of longing, nostalgia and returning to the past again and again:
And there will be days - sadness will also fade away, And the dream of remembrance will turn blue, Where there is no longer happiness or suffering, But only the all-forgiving distance.
("... A calm gaze, similar to that of a deer ...", 1901)
Let me live a useless dream, A vague and deceitful dream, - I am looking for a combination in this world, Beautiful and secret, like a dream. (Night, 1901)
Along with such eternal values of life as the beauty of nature, love, kindness, merging with the outside world, work, tireless knowledge of the truth, the happiness of motherhood, there is, according to Bunin, one more thing - possession mother tongue, attachments to the Letters. In the poem "The Word" (1915), the poet puts this human property as a special, immortal gift. This is exactly the “verb” that can turn a person into God, and a poet into a prophet. This is precisely the value that “in the days of malice and suffering” “on the graveyard of the world” leaves people hope for salvation.
Even during the life of I. A. Bunin, they started talking about him as a brilliant master of not only Russian, but also world-class. In 1933, the first of our compatriots, he was awarded the Nobel Prize in Literature.
In what ways did Bunin remain true to the artistic principles of the Russian classics? How does he develop and update domestic literary traditions, what features of his work make it possible to speak of him as a prominent master of the artistic word of the 20th century, a writer of a pan-European and world scale?
Consider the most important semantic constants of the artistic world of I. Bunin.
The author's narrative is almost always based on the flow of memory, which for him exists in the form of great-memory as a feeling of his own inextricable connection with "All-Being" (the term used by Bunin), with ancestors, as a recollection of his former lives. To exist without memory is the greatest tragedy. Only the past fixed by memory constitutes for Bunin a subject of high art. In one of his letters, he remarks: "While you live, you do not feel life." Therefore, the favorite heroes of I. Bunin are not people of reason and logic, but those who carry in themselves the primitive wisdom of instincts, not reflective, but whole and plastic personalities.
It is impossible to appreciate and understand the moment being experienced at the same time. So, the delay in our awareness is beautifully conveyed by Bunin in the story "Sunstroke". Life is just a material from which the human soul, with the help of memory, produces something of aesthetic value. Bunin dislikes the category of the future, which promises nothing but death. The writer is trying to regain "lost time". This is exactly what is shown in his autobiographical novel "Arseniev's Life".
In the artistic world of Bunin, the feeling of loneliness is most clearly manifested - the loneliness of the eternal, universal, as an inevitable and insurmountable state of the human soul. An unknowable world secret gives rise to both "sweet and sad feelings" in the writer's soul. A languishing feeling of longing is mixed with a feeling of joy and intoxication with life. The joy of life for Bunin is not a blissful and serene state, but a tragic feeling, colored by longing and anxiety. That is why love and death always go hand in hand with him, unexpectedly connecting with creativity.
The motives of love, death and the transforming power of art are constantly present in Bunin's work.
Perhaps Bunin's main life passion is a love of changing places. In the 1880-1890s. he traveled a lot in Russia, then traveled around Europe, wandered around the Middle East and Asian countries. Sometimes, as material for his works, Bunin used not only his impressions of what was happening in the Russian hinterland, but also his foreign observations.
In relation to Russian reality, Bunin's position looked unusual. To many of his contemporaries, he seemed impassive, "cold", albeit a brilliant master, and his judgments about Russia, the Russian people, Russian history - too distant. Bunin tried to distance himself from fleeting social anxieties, avoiding publicism in his pre-revolutionary work. At the same time, he unusually acutely felt his belonging to Russian culture, "the family of his fathers." To assess Russian reality, Bunin always needed a distance - chronological, and sometimes geographical. For example, while in Italy, Bunin wrote about the Russian village, while in Russia he created works about India, Ceylon, and the Middle East.
Bunin equally brightly showed himself as a prose writer, and as a poet, and as a translator. Back in 1886-1887. before the publication of the first poems and stories, he enthusiastically worked on translations of "Hamlet". His poetic translations of Petrarch, Heine, Verharne, Mickiewicz, Tenisson, Byron, Musset and others appeared in print. The translation of the "Song of Hiawatha" by G. Longfellow, which was published in 1896, was the pinnacle of this period.
The school of poetic translation, with its search for the only possible word, helped the writer to master the form of classical Russian verse in many ways. A huge number of books he read contributed to the enrichment of his poetic pantry.
Bunin had unusually sharp eyesight, allowing him to see the stars that others can see only through a telescope, amazing hearing - it is interesting that he could determine who exactly was traveling by the sound of the bells.
Bunin was extremely strict about the accuracy of the image. Everyone who knew the writer was repeatedly convinced with what trepidation he treated each printed word, to the point that even an incorrectly placed comma could seriously upset him.
Right up to the publication of the book, he did not stop until the last minute to make corrections and clarifications to the text.
More than sixty years of Bunin's path in literature can be chronologically divided into two approximately equal parts - pre-October and emigrant.
Bunin's youthful, mostly imitative poems are of interest only insofar as they characterize his then moods (dreams of happiness, a sense of the unity of happiness and suffering, etc.). In the early prose of the author there are features that later disappeared from other works by Bunin: humor (in the essays "Small Localities", "Landowner Vorgolsky" Gogol's notes are visible), the image of the vulgarity and longing of petty-bourgeois life characteristic of A.P. Chekhov ("Tarantella", "Day by day").
Bunin's true worldview was manifested in such stories as "On the Farm", "On the Donets", "Pass", "Antonov Apples", "Skeet", "Pines" and others. Already in the story "On the Farm" (1895) there is and regret about the transience of human life, and the sudden thought of the inevitability of death, and the loneliness of man.
In the depiction of the village, Bunin was initially far from idealizing the peasantry. This is especially clearly shown in the story "Fedoseevna", the main character of which is a poor, sick old woman, driven out of her home by her daughter. Bunin is not interested in social conflicts, but in the relationship between man and nature, which gives salutary reassurance. In many works of the author, the chirping of insects and the singing of night cicadas will become a constant symbol of the inexhaustible and mysterious power of life.
Bunin builds his stories not on a chronological sequence, but on the technique of associations. His comparisons are based on visual, sound and taste associations: "like the fox fur of the forest", "silks of the sands", "fiery red lightning snake". In the story "Pines" one of the most remarkable features of Bunin's work is manifested - the redundancy of bright, expressive, but, as it were, superfluous and unnecessary details. This fascination with detail is explained by the author's desire to capture the unique diversity of the world.
At the same time with " Antonov apples" Bunin writes the autumn poem "Falling Leaves". In this first poetic masterpiece of the author, one can trace all the features of Bunin's mature poetry: simplicity, intonation calm without false pathos, deliberate traditionalism of the verse, deliberate prosaisms that bring poetic speech closer to colloquial.
Almost all Bunin's stories of the beginning of the century are plotless and lyrical ("Fog" - a description of the feelings of a lyrical hero on a foggy night on a ship, "Dawn all night" - a girl's experiences on the eve of a wedding, etc.); the drama of his stories is not in the plot conflict, but in the very atmosphere of the story. The beginning of the action is often preceded by autonomous and, as it were, superfluous scenes, and the completion of the action is often followed by a "postscript" that unexpectedly opens up a new perspective ("The Red General", "Klasha", "Easy Breath"). Incompletion and understatement increase the activity of the reader's perception. Various descriptions and digressions by Bunin destroy the consistent course of action, and the action itself, as it were, breaks up into separate blocks-segments ("The Old Woman" is a set of independent scenes and paintings, "The Brothers" are several heroes independent of each other).
Bunin never comments on his impressions and attitude to the depicted, but tries to convey to us in a direct form the feeling itself, to infect, hypnotize with feeling. Understanding the spontaneity of thinking and its imperviousness to conscious volitional effort determines the unusual, illogical for traditional psychologism behavior of Bunin's heroes. For Bunin, a specific life situation does not contain a moral problem, because the main problem is life, governed by eternal laws unknown to us. Bunin's man is far from the pinnacle of creation, but a pitiful, perhaps the least perfect creature.
With a deep understanding of the psyche, Bunin's interest in the state of sleep, delirium, hallucinations (the dying visions of the land surveyor in "Asthma", "Chang's Dreams", "The Dream of Bishop Ignatius of Rostov", Mitya's dream in the story "Mitya's Love") is a kind of opportunity to get out beyond our "I", overcoming the boundaries of individual consciousness.
A significant place in Bunin's work was occupied by his reflections on the mysterious Russian soul, which were fully embodied in the story "The Village", which caused a sensation in reader circles with its ruthlessness, courage and challenge to conventional wisdom. One of the most amazing traits of the Russian character, which Bunin never ceases to be amazed at, is an absolute inability to live a normal life and an aversion to everyday life (“life, its eternal everyday life, is disgusting to them”). Everyday work with such a sense of life is one of the most severe punishments. However, apathy in everyday life is replaced by unexpected energy in extraordinary circumstances. For example, one of the characters in the "Village" - Gray is too lazy to fix holes in the roof, but is the first to go to the fire.
The desire to free themselves from a dreary existence pushes the heroes either to an unexpected act, or to an absurd and senseless rebellion. So, the rebellious peasants threaten to kill Tikhon Krasov, and then, as before, they bow respectfully to him. Describing the rudeness, envy, hostility, cruelty of the peasants, Bunin never allows himself a accusatory tone, he is extremely truthful and objective. However, this is not a cold statement of the horrific reality, but pity and compassion for the "throwning and unfortunate" and even self-flagellation.
And in the story "Dry Valley" the main theme is the Russian soul, which is developed on the example of the nobility. It is in the similarity of Russian peasants and nobles that Bunin sees the main reason for the degeneration of the village, the nobility is stricken with the same disease - Russian melancholy, absurdity, irrationality of actions. The theme of the Russian soul is given in "Dry Valley" in a completely different artistic vein than in "The Village", where the smallest details are carefully written out. "Dry Valley" is a work where the emotional atmosphere is created by the interweaving and development of repetitive motifs, that is, the "musical" principles of composition are used. Drydol is not a real object, but only memories of it. Sukhodol no longer exists - only the remnants of antiquity, reflected by the unsteady light of the past, live.
The October Revolution forced the writer to leave Moscow in 1918, and at the beginning of 1920 to leave his homeland forever. In Bunin's diary of these years, published in exile under the heading "Cursed Days", the reasons that prompted the writer to leave the country are especially clearly and extremely clearly revealed. Bunin's notes are distinguished by a high concentration of passionate hostility to Bolshevism, which is not only moral, but also aesthetic. This showed his main feature- to see at the heart of the tragedy of the world not the contrast of good and evil, but the contrast of beauty and ugliness, to serve "beauty and truth." Bunin describes the bloody orgies of the Bolsheviks in Odessa captured by them, the disgusting morals of the "red aristocracy".
During the emigrant period, Bunin's prose becomes emotional, musical and lyrical. In a new round of creativity, poetry and prose merge into a completely new synthetic genre. The theme of historical memory is devoted to the stories "Mowers", "Rus", "Prelate", "God's tree", where Bunin again returns to the theme of the Russian soul. In emigration, Bunin felt the mysterious life of the Russian word even more sharply, reaching linguistic peaks and revealing an amazing knowledge of folk speech. Even greater skill is manifested in the musical organization of his prose.
The theme of love, which will become the main one in his work, begins to occupy an increasing place in Bunin's work. last book"Dark Alleys", which the writer himself considered his most perfect creation. Especially in this book, her freshness and youthful strength of feelings are striking.
The completely new character of Bunin's prose found expression in his creation of a new literary genre - miniatures, when the very detail became a story. Some of them are written for the sake of one single phrase or one word ("Tears", "Cannibal", "Roosters"). They are extremely specific, they have no allegory, and in fact there is no metaphor. Miniatures are perceived as a poetic text, they are permeated with a system of lexical and sound repetitions.
Bunin's most remarkable book in exile is his novel The Life of Arseniev. In the novel, the author recreates his own perception of life and the experience of this perception. This is a work about the "perception of perception" or the memory of memory. According to Bunin, memory cleanses the past of everything unnecessary, superficial and reveals its true essence, makes visible the aesthetic in everyday life. The novel contains the time of the past and the time of the present narrative, there are frequent "transfers" from one time to another, and sometimes violations of the temporal sequence. However, this is not an objective reconstruction of the past, but the creation of a special world, a different reality thanks to the author's consciousness, where "insignificant and ordinary things" become mysteriously beautiful. "The Life of Arseniev" is a unique work in Russian literature, striking in its inner psychologism, referring to the works of Tolstoy and Dostoevsky.
Shortly before his death, Bunin was working on a book about Chekhov. He never managed to complete it. The book was published after Bunin's death in New York.
The creative path of the outstanding Russian prose writer and poet of the late 19th-first half of the 20th century, a recognized classic of Russian literature and its first Nobel laureate I. A. Bunin (1870-1953) is very complex, understanding which is not an easy task, because in fate The destinies of Russia and its people were sharply and individually refracted in the writer's books, and the most acute conflicts and contradictions of the time were reflected.
Ivan Alekseevich Bunin was born on October 22, 1870, into an impoverished noble family. He spent his childhood on the Butyrka farm in the Yelets district of the Oryol province. Communication with the peasants, with his first tutor, home teacher N. Romashkov, who instilled in the boy a love for fine literature, painting and music, life in the midst of nature gave the future writer inexhaustible material for creativity, determined the themes of many of his works.
A special place in the life of young Bunin is occupied by a deep feeling for Varvara Pashchenko, the daughter of a Yelets doctor, whom he met in the summer of 1889. The story of his love for this woman, complex and painful, ending in a complete break in 1894, the writer will tell in the story "Lika", which made up the final part of his autobiographical novel "Arseniev's Life".
Bunin began his literary activity as a poet. In poems written in his teenage years, he imitated Pushkin, Lermontov, as well as the idol of the then youth, the poet Nadson. In 1891, his first book of poems was published in Orel, in 1895 - the first collection of stories "To the End of the World", and in 1901 - again the poetry collection "Falling Leaves". The predominant motifs of Bunin's poetry of the 90s are the rich world of native nature and human feelings. The landscape poems express the life philosophy of the author. The motive of the frailty of human existence, which sounds in a number of poems, is balanced by the opposite motive - the affirmation of the eternity and imperishability of nature. In the poem "Forest Road" the poet exclaims:
My spring will pass, and this day will pass,But it's fun to wander and know that everything passes, While the happiness of living will never die.
Bunin's poems about love are just as clear, transparent and concrete. love lyrics Bunin is quantitatively small. But she is distinguished by a special sensuality, vivid images of lyrical heroes and heroines, far from beautiful souls and excessive enthusiasm, avoiding prettiness, phrases, poses. Such are the poems “I entered her at midnight”, “Song” (“I am a simple girl on the tower”), “We met by chance on the corner”, “Loneliness” and some others.
Nevertheless, Bunin's lyrics, despite external restraint, reflect the diversity and fullness of human feelings, all kinds of ranges of moods. Here is the bitterness of separation and unrequited love, and the experience of a suffering, lonely person.
The range of Bunin's lyrical poems is very wide. He refers to Russian history (“Svyatogor”, “Michael”, “Medieval Archangel”), recreates the nature and life of other countries, mainly the Image of the East (“Ormuzd”, “Aeschylus”, “Jericho”, “Flight to Egypt” , "Ceylon", "Off the coast of Asia Minor"). This lyric is philosophical in its essence. Peering into the human past, Bunin seeks to reflect the eternal laws of being.
Bunin did not leave his poetic experiments all his life, but he is known to a wide range of readers primarily as a prose writer, although the poetic “vein” is also characteristic of his prose works, where there is a lot of lyricism and emotionality.
Bunin perceived the world in an indecomposable unity of contrasts, in dialectical complexity and inconsistency. Life is both happiness and tragedy. The highest manifestation of this life is for Bunin love. But Bunin's love is a passion, and in this passion, as in the apex manifestation of vital forces, a person burns out. In flour, the writer claims, there is bliss, and happiness is so piercing that it is akin to suffering. Therefore, love, as the highest life value, is also catastrophic by its nature.
Bunin's short story "Light Breath" is indicative in this regard. This is a highly lyrical story about how the flourishing life of a young heroine, schoolgirl Olya Meshcherskaya, was unexpectedly interrupted by a terrible and at first glance inexplicable catastrophe. But in this unexpectedness - the death of the heroine - there was a fatal pattern. In order to expose and reveal the philosophical basis of the tragedy, the understanding of love as the greatest happiness and at the same time the greatest tragedy, Bunin builds his work in a peculiar way.
The beginning of the story carries news of the tragic denouement of the plot: this is a description of a cross in a cemetery over a fresh clay embankment, made of oak, strong, heavy, smooth, with a convex porcelain medallion embedded with a photographic portrait of a schoolgirl with joyful, amazingly lively eyes. Then a smooth retrospective narration begins, full of jubilant joy of life, which the author slows down, restrains with epic details: as a girl, Olya Meshcherskaya “did not stand out in any way in the crowd of brown gymnasium dresses ... Then she began to bloom ... beyond her days but by the hour ... No one danced at balls like Olya Meshcherskaya, no one ran as fast as she did, no one was looked after at balls as much as she was ... Olya Meshcherskaya completely lost her last winter mind from fun, as they said in the gymnasium. And then one day, at a big break, when she was running like a whirlwind around the school hall from the first-graders enthusiastically chasing her, she was unexpectedly called to the head of the gymnasium. The boss reprimands her for the fact that she does not have a gymnasium, but a woman's hairstyle, that she wears expensive shoes and combs. The boss is irritably and sharply talking to Olya. And here begins a sharp plot twist. In response, Olya Meshcherskaya utters significant words of recognition, naming her seducer, the boss's brother Alexei Mikhailovich Malyutin.
At this moment of supreme reader interest story line breaks off abruptly. And without filling the pause with anything, the author strikes us with a new stunning surprise, outwardly not connected in any way with the first one, with the words that Olya was shot by a Cossack officer. Everything that led to the murder, which should, it would seem, be the plot of the story, is set out in one paragraph, without details and without any emotional coloring - in the language of the court record: “... The officer told the investigator that Meshcherskaya lured him, was close to him, swore to be his wife, and at the station, on the day of the murder, seeing him off to Novocherkassk, she suddenly told him that she never thought to love him ... ”The author does not give any psychological motivation this story. Moreover, at the moment when the reader's attention rushes along this main plot channel (Oli's connection with the officer and her murder), the author cuts it off and deprives the expected retrospective presentation.
So convulsively, with sharp turns, the plot is presented, in which much remains unclear. For what purpose does Bunin deliberately not observe the temporal sequence of events and, most importantly, violates the cause-and-effect relationship between them? To emphasize the main philosophical idea: Olya Meshcherskaya died not because life pushed her first with an old womanizer, and then with a rude officer. Therefore, the plot development of these two love meetings was not given, because the reasons could receive a very specific, everyday explanation and lead the reader away from the main reason.
The tragedy of the fate of Olya Meshcherskaya is in herself, in her charm, in her organic fusion with life, in complete subordination to her elemental impulses - blissful catastrophic at the same time. Olya was striving towards life with such violent passion that any collision with her was bound to lead to disaster. The overstrained expectation of the ultimate fullness of life, love as a whirlwind, as self-giving, as "easy breathing" led to a catastrophe. Olya burned out like a moth, frantically rushing towards the withering fire of love. Not everyone has that feeling. Only for those who have a light breath - a frantic expectation of life, happiness. “Now this light breath,” Bunin concludes his story, “dispersed again in the world, in this cloudy sky, in this cold spring wind.”
At the beginning of the 20th century, in a number of works of Russian literature, another extreme was indicated: an unchaste depiction of love relationships, savoring naturalistic details. The originality of Bunin is that the spiritual and physical are merged in him in an inseparable unity. Carnal love in the collection "Dark Alleys" is inspired by the great human feeling. The heroes of "Dark Alleys" throw themselves into a hurricane of passion without fear or looking back. In this brief moment, they are given to comprehend life in its entirety, after which others burn out without a trace (“Galya Ganskaya”, “Steamboat “Saratov”, “Heinrich”), others eke out an ordinary existence, remembering as the most precious thing in life, who once visited them a great love (“Rusya”, “Cold Autumn”). Love, in Bunin's understanding, requires a person to exert maximum spiritual and physical strength. Therefore, it cannot be long: not infrequently in this love, as already mentioned, one of the heroes dies.
Here is the story of Heinrich. The writer Glebov met a remarkable in mind and beauty, subtle and charming woman - the translator Heinrich, but soon after they experienced the greatest happiness mutual love, she was unexpectedly and absurdly killed out of jealousy by another writer - an Austrian. The hero of another story - "Natalie" - fell in love with a charming girl, and when, after a series of ups and downs, she became his actual wife, and he seemed to have achieved the desired happiness, she was overtaken by a sudden death from childbirth. In the story "In Paris", two lonely Russians - a woman who worked in a restaurant and a former colonel - met by chance, found happiness in each other, but soon after their rapprochement, the colonel suddenly dies in a subway car. And yet, despite the tragic outcome, love is perceived by the author as the greatest happiness of life, incomparable with any other earthly joys. An epigraph to such works can be taken from the words of Nat-li from the story of the same name: “Is there an unhappy love, doesn’t the most mournful music give happiness?”
In the story "Cold Autumn", a woman who tells about her life lost a beloved person at the beginning of the First World War. Recalling many years later the last meeting with him, she comes to the conclusion: "And that's all that was in my life - the rest is an unnecessary dream."
With the greatest skill, Bunin depicts the first love, the birth of love passion. This is especially true for young heroines. In similar situations, he reveals completely different, unique female characters. Such are Muse, Rusya, Natalie, Gapya Ganskaya, Tanya and other heroines from stories of the same name. Thirty-eight novellas of the collection represent a magnificent variety of unforgettable female characters. Next to this inflorescence, male characters are less developed, sometimes only outlined and, as a rule, static. They are characterized, rather, indirectly, reflected, in connection with the physical and mental appearance of the woman they love. Even when only “he” acts in the story, for example, the officer in love from the story “Steamboat Saratov”, who shot the absurd beautiful woman, “she” remains in the reader’s memory - “long, wavy” and her “go- Loe knee in the section of the hood.
The external event outline of the story "Clean Monday" is not very complicated and fits perfectly into the theme of the "Dark Alleys" cycle. The action takes place in 1913. Young people, he and she (Bunin does not name names anywhere), met once at a lecture in a literary and artistic circle and fell in love with each other. He is open in his feeling, she holds back her attraction to him. Their intimacy still happens, but after spending only one night together, the lovers part forever, because the heroine on Clean Monday, that is, on the first day before Easter Lent in 1913, makes the final decision to go to the monastery, letting go of your past.
One of Bu-nin's most remarkable works of the 20s of the 20th century - the story "Mitina's Love" takes us not only to pre-revolutionary, but also to pre-war Russia. Turning again to the theme of love, the writer creates a work imbued with deep tragedy. Student Mitya, studying in Moscow, fell in love with Katya with all the force of his first feeling, a studio student of one of the capital's theater schools, passionately passionate about her art. For the summer, Mitya leaves for his mother's estate and waits for letters from Katya, without whom he cannot live and who is jealous of the director of the theater school. Tortured by jealousy and suspicion, the yearning Mitya meets with the active assistance of the headman with the peasant woman Alenka and at the end of the story, shocked by the disappointment that the first rapprochement with a woman brought him, and most importantly, Katya’s letter confirming her treason, shoot-Xia. "Mitina's love" is new stage the writer's work, which marks a deep and subtle penetration into the world of intimate, mostly love experiences of the characters.
In the image of the heroines of Bunin's prose, in their spiritual quest, the search for Bunin's own answer to the question of the ways of spiritual salvation and human development is concentrated. Bunin shows us the whole truth, how everything happens, and does not invent some romantic stories with a happy ending.
Tasks: 1) determine the place of Bunin in the historical and literary context of the turn of the century; 1) determine the place of Bunin in the historical and literary context of the turn of the century; 2) study the works of literary critics and identify the features of the writer's artistic world; 2) study the works of literary critics and identify the features of the writer's artistic world; 3) based on the work of researchers of the structure of thin. text, 3) based on the work of researchers of the structure of art. text, to identify the features of the art world in the story "On the farm" to identify the features of the art world in the story "On the farm"
Hypothesis - Bunin is interested in the existence of a character in two worlds (external and internal), Bunin is interested in the existence of a character in two worlds (external and internal), the inner world of a person, in which there is a sphere of the past, is more significant for the writer, the inner world of a person, in which there is the sphere of the past is more significant for the writer, and the outer space serves only to express it. and outer space serves only to express it.
Chapter 2 Part 3. Features of the plot in the story "On the farm" and stories with similar plots. Part 3. Features of the plot in the story "On the farm" and stories with similar plots. "On the farm" "Pass" "Kastryuk" "Fog" "The psychological state of the hero at a stressful moment and the image of the way out of this state
Part 4 The plot and compositional originality of the story “On the Farm” Memories of reflection The inner world of the hero Plot: a story about several evening hours of a small-scale nobleman Kapiton Ivanych, who received news of the death of his former lover and reflects on his place in life.
CONCLUSION: Man is a small part in the world of being; Man is a small part in the world of being; A person is able to find inner harmony by accepting the natural course of life, merging with the natural world. A person is able to find inner harmony by accepting the natural course of life, merging with the natural world.
The subjective organization of the story Fragment 1: the narrator shows a broad picture of the world. 1 fragment: the narrator shows a broad picture of the world. Fragment 2: the social world created by the voices of others (the hero's private life) Fragment 3: Kapiton Ivanych's memories (the hero's inner speech)
The subjective organization of the story Fragment 4: the hero's search for an interlocutor (a failed dialogue with the servants) - the hero is lonely by the will of fate. Fragment 4: the hero's search for an interlocutor (a failed dialogue with the servants) - the hero is lonely by the will of fate. Fragment 5: the hero's thoughts about life, about the inevitability of death (the hero's inner speech)
Conflict: the author confronts the essence of a person and its assessment by others, shows different states of the human personality: a state of confusion and a state of harmony. the author confronts the essence of a person and its assessment by others, shows different states of the human personality: a state of confusion and a state of harmony.
Conflict: When a person is in conflict with himself, other people's voices prevail, When a person is in conflict with himself, other people's voices prevail, and when he finds harmony, and when he finds harmony, the main character has his own voice. the main character has his own voice.
Conclusion: The features of the artistic world are determined both by the object of the image and the ways of creating it. The features of the artistic world are determined by both the object of the image and the ways of creating it, focusing on the essence of man. Bunin refers to a fragmentary narrative, focusing on the essence of man. Bunin turns to fragmentary narration
Pictures of nature are often accompanied by I. Bunin with landscape sketches, designed to reproduce not only psychological condition, but also the social role of a person in the world: to designate his loneliness Pictures of nature are often accompanied by I. Bunin's landscape sketches, designed to reproduce not only the psychological state, but also the social role of a person in the world: to designate his loneliness
Bunin shows a person not in the context of his time, Bunin shows a person not in the context of his time, but in the context of natural being, but in the context of natural being, in which he is able to solve his personal problems. in which he is able to solve his personal problems.
The first youthful works bear the influence of the ideological tradition. The mood of civic sorrow.
But the Nadsonian motives in it were already initially adjacent to the influence of Fet. The identity of the feelings of the lyrical hero and natural phenomena ("Loneliness"). Bunin's Fet and Nadson are inseparable and inseparable. Plus a passion for Tolstoy. Almost all of Bunin's heroes are like a test of death. Understanding life as the fulfillment of duty to God in early stories.
The beginning of the 1900s was a time of brief contact with symbolism, ending in a sharp rejection.
For some time, Bunin either chose between "Knowledge" and "Scorpio", or believed that it was quite possible to combine these camps. If we trace the short history of his entry into the Symbolist circle, then we should start with a personal acquaintance with Bryusov, their joint participation in 1895 in the collection Young Poetry. When at the end of 1899 the first symbolist publishing house "Scorpion" arose, Bunin was one of the first authors to whom Bryusov and Polyakov turned to with a request for cooperation.. Bunin not only handed over to Scorpio in 1900 the book of poems Falling Leaves (published in 1901), but also, on his own initiative, tried to persuade Gorky and Chekhov to participate in the almanac Northern Flowers. However, very soon strange misunderstandings began in their relationship: having published the story “Late at Night” in the first issue of the Northern Flowers, Bunin was not among the participants in the second issue. Bunin tried to offer "Scorpion" a second edition of "The Song of Hiawatha" and the collection "To the End of the World", as well as new book poems, but none of these books were published in Scorpio, and already in 1902, Bunin suggested to Gorky that he buy Falling Leaves from Scorpio and republish it in Knowledge". In a review of Bunin's New Poems, Bryusov dismissively characterizes Bunin as "yesterday of literature." The ensuing rupture of personal relationships looks quite natural.
From 1902 until the end of his life, Bunin spoke of the Symbolists invariably derogatory. From time to time, Bunin still publishes in symbolist, although not "Scorpion" magazines and almanacs ("Golden Fleece", "Pass"). His collections are quite sympathetically reviewed in symbolist periodicals. Blok in the article “On Lyrics” stated: “The integrity and simplicity of Bunin’s poems and worldview are so unique that we must recognize his right to one of the main places among modern Russian poetry from his first poem “Falling Leaves”. Bunin's sharply negative assessments of the Symbolists can only be compared with his invariably furious invectives against Dostoevsky. Hidden rivalry with the luminaries of Russian literature has always occupied a large place in his assessments. Yet neither Tolstoy nor Chekhov "interfered" with Bunin. But Dostoevsky interfered. Bunin considered the themes of irrational passions, love-hate, passion to be “his own”, and all the more he was annoyed by the stylistic manner alien to him.
In the article "On Bunin's Poetry", Khodasevich argues that Bunin's poetics "appears to be a consistent and stubborn struggle against symbolism." The peculiarity of this struggle lies in the development of the symbolist thematic repertoire by those fundamentally opposed to symbolism. stylistic means. In the lyrics of Bunin in the 1900s. noticeable predilection for historical exoticism, travel through ancient cultures - to themes traditional for the "Parnassian" line of Russian symbolism. "The inscription on the gravestone", "From the Apocalypse", "Epitaph", "After the battle". In these poems, Bunin is the least distinguishable from symbolist poetry: the same solemn descriptive style, the same balanced distinctness of form, the same reflections on the connection between the bygone and modern culture through love and beauty. But high style coexists with specific natural or everyday details seen in detail.
Radically distinguishing Bunin from the symbolists was landscape lyrics . Where the symbolist saw "natural signs" of a different, truly real reality or a projection of his own state of mind, Bunin "reverently steps aside, making every effort to reproduce the reality he idolizes most objectively.. He is afraid to somehow inadvertently "recreate" it. In poetic practice, this leads to the almost complete elimination of the lyrical hero, in general - the lyrical "I", replaced either by an impersonal third-person narrative, or by the introduction of a "role" character, extremely alienated from the author. The earliest and most striking example is Falling Leaves. Mentions of him are usually accompanied by a demonstration of lush descriptions of the autumn forest, rich in multi-colored epithets, from September to the first snow. The preponderance of adjectives, words with the meaning of quality is typical of symbolist poetics. But among the Symbolists, the enumeration of signs serves to decompose the depicted world. In Bunin, all qualitative characteristics are objective and specific. Autumn in "Falling Leaves" is not only described, but is also the personified character of the Poem, and it is through its perception that the alternation of natural pictures is given. Bunin's feeling barely gets the opportunity to break out; it is indicated in a fleeting remark, in a hint, in a lyrical ending. It is no coincidence that those few poems by Bunin live in the minds of the modern reader, where the right to exist for the lyrical hero (“Loneliness”) is not denied and where the future transformation of the story in verse, undertaken in the 1910s by post-symbolist poets, is anticipated. The narrator's lyrical consciousness, reduced in Bunin's poetry, takes on a leading role in his prose.
Buniin had to go through all the most significant for Russia areas of philosophical and aesthetic thought, through the most important literary schools. At the same time, he does not become an adherent of any of the existing ideological systems, but at the same time masters and synthesizes the closest ones in his own artistic world. The formation of a new artistic system in Bunin's work meant at the same time overcoming the boundaries between the principles of the poetics of those literary schools, which at the previous stage of the development of the literary process were perceived as antagonists.
Equally significant and original is Bunin's poetry of the 1910s, which until recently was regarded as purely traditional.
Russia, history, peasant life; originality of national cultures; man, his spiritual heritage, place in the world; goodness, beauty, love; the enduring connection of times - such is the range of Bunin's poetry. The world appears in it more whole, spiritualized and joyful than in prose. Here his ethical and aesthetic ideals, ideas about art, about the purpose of the artist are more directly expressed.
Any picture - everyday, natural, psychological - does not exist in Bunin in isolation, they are always included in the big world. In his poems, it is not a single detail that dominates, but a collection of heterogeneous details that is able to convey the diversity of the changing world and the significance of each phenomenon associated with the universal. Bunin reached such heights of figurativeness that made it possible to reveal the "pathos of the soul", the attitude to the world in an extremely compressed, concrete form - "lyrics of facts", and not "lyrics of words".
Bunin creates short stories in verse, uses prose-narrative intonations and thereby enriches and expands the possibilities of his poetry. Prose influenced poetry, poetry enriched prose.
"Loneliness"
And the wind, and the rain, and the haze
Above the cold desert water.
Here life died until spring,
Until spring, the gardens are empty.
I am alone at the cottage. I'm dark
Behind the easel, and blowing through the window.
Yesterday you were with me
But you're already sad with me.
In the evening of a rainy day
You seem like a wife to me...
Well, goodbye! Sometime before spring
I will live alone - without a wife ...
Today they go on without end
The same clouds - ridge after ridge.
Your footprint in the rain at the porch
Fluffed up, filled with water.
And it hurts me to look alone
In the late afternoon gray darkness.
I wanted to shout out:
"Come back, I'm related to you!"
But for a woman there is no past:
She fell out of love - and became a stranger to her.
Well! I'll light the fireplace, I'll drink...
It would be nice to buy a dog.
"Night"
I'm looking for combinations in this world
Beautiful and eternal. away
I see the night: sands in silence
And the finest hour over the dusk of the earth.
Like letters, flicker in the blue firmament
Pleiades, Vega, Mars and Orion.
I love their flow over the desert
And the secret meaning of their royal names!
As I am now, myriads of eyes followed
Their ancient way. And in the mists of time
All for whom they shone in the darkness,
Disappeared in it, like a trace among the sands:
There were many of them, tender and loving,
And girls, and boys, and wives,
Nights and stars, transparent silver
Euphrates and Nile, Memphis and Babylon!
It's night again. Over the pale steel of Pontus
Jupiter lights up the sky
And in the mirror of water, to the horizon,
A strip of glass shines like a pillar.
Coasts where the Taurus-Scythians roamed,
Already not the same - only the sea in the summer calm
Everything just pours gently on the reefs
Azure phosphorus dust.
But there is one thing that eternal beauty
Connects us with the dead. Was
Such a night - and to the quiet surf
A girl came to the shore with me.
And do not forget me this starry night,
When I loved the whole world for one!
Let me live a useless dream
Foggy and deceitful dream, -
I'm looking for combinations in this world
Beautiful and secret, like a dream.
I love her for the happiness of merging
In one love with the love of all time!
"Sapsan"
Ox ribs by the road
Stick out in the snow - and slept on them
peregrine falcon, space-legged vulture,
Ready to soar every moment.
I shot him. And this
Threaten with misfortune. And here to me
The guest began to walk. He until dawn
Around the house wanders in the moonlight.
I didn't see it. I have heard
Just the crunch of footsteps. But can't sleep.
On the third night I went out into the field ...
Oh what a sad night!
Who was he, this midnight
Invisible guest? Where is he from
Comes to me at the appointed hour
Through the snowdrifts to the balcony?
Or did he know that I yearn,
What am I alone? what's in my house
Only snow and the sky in the silent night
Looking out of the garden by moonlight?
Perhaps he heard today
Now the moon was at its zenith
There was a thick fog in the sky...
I was waiting for him - I went to the rakita
On the crust of snow fields,
And if my enemy from bait
Suddenly jumped on a snowdrift, -
I'd be out of the rifle with no mercy
It pierced his broad forehead.
But he didn't go. The moon was hiding
The moon shone through the mist
The darkness was running... And it seemed to me
That the peregrine falcon is sitting in the snow.
Frosty frost like diamonds
Sparkled on him, and he dozed,
Gray-haired, goiter, round-eyed,
And pressed his head into the wings.
And he was terrible, incomprehensible,
Mysterious as this run
Foggy haze and bright spots,
Sometimes illuminating the snow, -
Like an incarnated power
That Will that at the midnight hour
We were all united by fear -
And made us enemies.
"Evening"
We always remember happiness.
And happiness is everywhere. Maybe it -
This autumn garden behind the barn
And clean air pouring through the window
In the bottomless sky with a light white edge
Rise, the cloud shines. For a long time
I follow him ... We see little, we know
And happiness is given only to those who know.
The window is open. She squeaked and sat down
A bird on the windowsill. And from books
I look away tired for a moment.
The day is getting dark, the sky is empty.
The hum of the thresher is heard on the threshing floor...
I see, I hear, I am happy. Everything is in me.
Black velvet bumblebee, golden mantle,
Mournfully buzzing with a melodious string,
Why are you flying into human housing
And as if you yearn for me?
Outside the window is light and heat, window sills are bright,
The last days are serene and hot,
Fly, hoot - and in a dried Tatar,
On a red pillow, sleep.
It is not given to you to know human thought,
That the fields have long been empty,
That soon a gloomy wind will blow into the weeds
Golden dry bumblebee!
"Word"
The tombs, mummies and bones are silent, Only the word is given life:
From the ancient darkness, on the world churchyard, Only the Letters sound.
And we have no other property!
Know how to save
Though to the best of my ability, in the days of anger and suffering,
Our gift is immortal speech.
A calm gaze, like that of a doe
And everything that I loved so dearly in him,
I still have not forgotten in sadness
But your image is now in a fog.
And there will be days - sadness will fade away,
And the dream of remembrance will turn blue,
Where there is neither happiness nor suffering,
But only the all-forgiving distance.
And flowers, and bumblebees, and grass, and ears of corn,
And azure, and midday heat ...
The time will come - the Lord of the prodigal son will ask:
“Were you happy in your earthly life?”
And I will forget everything - I will remember only these
Field paths between ears and grasses -
And from sweet tears I will not have time to answer,
I fell to the merciful knees.
We walked side by side, but on me
You didn't dare to look
And in the wind of a March day
Our empty speech was lost.
White cold clouds
Through the garden where the drops fell
Your cheek was pale
And like flowers the eyes turned blue.
Already half-open lips
I avoided touching with my eyes.
But it was still blissfully empty
That wondrous world where we walked side by side
Thank you Lord for everything! 1901
You, after a day of anxiety and sadness,
Give me the evening dawn
The expanse of fields and the meekness of the blue distance.
I am alone now - as always.
But then the sunset spilled its magnificent flame,
And the Evening Star melts in it,
Trembling through like a gemstone.
And I am happy with a sad fate,
And there is a sweet joy in the mind,
That I am alone in silent contemplation,
That I am a stranger to everyone and I say - with you.
We sat by the stove in the hallway,
Alone, with the fire extinguished,
In an old abandoned house
In the steppe and deaf side.
The heat in the stove is sullenly red,
It's dark in the cold hallway
And twilight, interfering with the night,
Gravely blue in the window.
The night is long, gloomy, wolf,
Around all the forests and snow,
And in the house only we and icons
Yes, the terrible proximity of the enemy.
Of a despicable, wild age
I have been given to be a witness
And in my heart is so grave,
How cold this window is.
A. Kuprin's creative path
