Psychologism and features of the external depiction of Bunin's prose. The originality of psychological skill in the prose work of I.A.

Philosophical and psychological saturation of I.A. Bunin .

Literature lesson in grade 11

Prepared by Andryunina E.G.

The poem "Epiphany Night" (1886-1901)

• Refers to the early period of the poet's work. The name is associated with the Orthodox feast of the Epiphany. But Bunin begins the description of Epiphany night without connecting it with a religious holiday. It seems to be just a night in the winter forest, full of poetry and charm...

Analytical conversation

• 1. Find comparisons in the first 2 stanzas. What do they have in common? What image of the winter forest do they create?
• 2. What role do personifications play in the first 4 stanzas? Find a metaphor in the last stanza?
• 3. What stanzas start the same way? Why does the author need it?

• 4. What colors are present in the Bunin landscape?
• 5. Who does the lyrical hero feel like? Adult or child? What feelings does it experience? How do you imagine it?
• 6. What is the unusual image of a star at the end of the poem? What image appears with the star?

Generalization

• This poem combines the Christian vision of the world and the peasant, folk perception of nature. Bunin shows us the beauty and grandeur of nature, inspired by man and God's plan.

"Loneliness"

• 1. How did the poem make you feel? What picture did you present?
• 2. What is the theme of this poem?
• 3. What is the main idea?
• 4. What figurative and expressive means are there in this poem?

"The Last Bumblebee" (1916)

• A brilliant example of natural-philosophical lyrics. A feature of this poetry is an attempt to know the meaning of human life through the comprehension of the philosophy of nature, of which man is a part. At the beginning of the poem, the epithet sets the philosophical theme of death, which is one of the defining ones in the writer's work. She finds artistic embodiment in the story "The Gentleman from San Francisco", in the cycle "Dark Alleys". In the poem "The Last Bumblebee" this theme is revealed through an appeal to nature.

Analytical conversation

• 1. What mood does the poem evoke?
• 2. Find epithets related to the bumblebee.
• 3. Why did the bumblebee turn golden at the end of the poem?
• 4. Why does he remain golden in the memory of the lyrical hero?

Generalization

• In the first stanza, a parallel is visible between man and nature (“And as if you yearn for me?”). Then man separates himself from nature. She is not given an understanding of the finiteness of life, because she is immortal. Every living being possesses the same saving ignorance. And only man, the most intelligent son of nature, acquired a sense of the end, coloring his life in tragic shades.

Task Group poems by I.A. Bunin on the thematic principle.

"Word", "Evening", "The day will come, I will disappear ..", "And flowers, and bumblebees, and grass, and ears of corn ...", "Childhood", "Homeland", "Twilight", "The gray sky above me ..", "I remember - a long winter evening ...", "In the country chair, at night, on the balcony ...".

Summing up the lesson

Poetry I.A. Bunina received a controversial

assessment in contemporary criticism.

In his early work, the leading principle

was poetry. Bunin seeks to bring

poetry with prose, the latter acquires

he has a kind of lyrical character,

marked by a sense of rhythm. About the nature of Buninskaya

poetry, Maxim Gorky said well: “When I

I will write about your book of poems, I, by the way,

I will compare you with Levitan ... "

Questions of an “eternal”, universal nature, touched upon by writers, have interested people at all times. The same turbulent time as the 20th century, marked by revolutions, evoked the need to believe in something brighter. Therefore, some idealization was inherent in the literature of the early twentieth century.

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Psychologism and poetic features of Bunin's prose. Lesson outline.

Lesson outline.

Topic: "Psychology and poetic features of Bunin's prose"

(repetitive-generalizing lesson on the work of I.A. Bunin).

Lesson Objectives:

Summarize the knowledge gained in the lessons on the work of I.A. Bunin;

To improve the skills of artistic analysis of works, forming in students a creative approach to the studied material, their own vision of it;

Encourage students to further independent acquaintance with the work of I.A. Bunin.

Equipment .

Portrait of I.A. Bunin, an exhibition of books by Bunin and about Bunin, texts of works by I.A. Bunin, personal computer, interactive whiteboard.

The right side of the class at the blackboard is designed to stage the story "The Gentleman from San Francisco".

During the classes.

1. Organizational moment.

2. Announcement of the topic of the lesson. Introductory speech of the teacher. Recording V notebooks.

3. Repetitive-generalizing conversation (according to the story "The Gentleman from San Francisco").

1. Tell us briefly about the history of the creation of the story. What role does 1915 play in the life of the writer himself?

2 . The word used in the story is "Mr." What is the meaning of it in the explanatory dictionary of S.I. Ozhegova and N.Yu. Shvedova? Additional questions: And in the dictionary V.I. Dahl? What other explanatory dictionaries do you know? What does the title say about the main character?

3. Read with expression a fragment of the story, which contains a description of the appearance of the hero. What did the author want to say about him through portrait details?

4. If you had to explain to a person who has not read the story "The Gentleman from San Francisco" the main idea of ​​the text, how would you do it?

5. When the story “The Gentleman from San Francisco” was published and spread throughout the country, M. Gorky, after reading it, remarked: “I.A. Bunin made the broken, shattered Russian society seriously think about the strict question: to be or not to be Russia ... ". How do you understand the words of M. Gorky? Do you agree with them? Justify your answer.

4. Staging the story of I.A. Bunin "The Gentleman from San Francisco".

Conversation of a gentleman from San Francisco with the head waiter.

5. Compilation of a comparative table based on the works of I.A. Bunin

(consolidation and systematization of the acquired knowledge).

The table is filled in on the interactive whiteboard.

Homework.

Compile a written comparative analysis of two works by I.A. Bunin, using the table filled in at the lesson.

Topic: “Images of lovers in “Dark Alleys” and “Clean Monday” (stories of the student’s choice).

Lesson results.

Students are invited to fill out a “lesson passport” and reflect on the lesson.

At the lesson:

I was

Interesting;

difficult;

boring;

healthy;

_________

I am in class

have worked;

tried;

did not understand the topic;

worried;

was an observer;

____________

Will try

find additional material;

read the information in the textbook;

memorize interesting lesson material;

_________________________________

MOSCOW ORDER OF LABOR RED BANNER

As a manuscript

KOZLOVA Natalya Nikolaeva

THE PSYCHOLOGICAL SKILL OF N.A.BUNIN IN THE PROSE OF THE 1910s

Piosertations for the competition of a scholar.

Moscow - 1993

The work was done at the Department of Russian Literature of the Moscow Order of the Red Banner of Labor Pedagogical University.

Scientific adviser: Doctor of Philology, Professor

Smirnova L A.

Official opponents: Doctor of Philology, Professor

Zakharkin A.F.

candidate of philological sciences, associate professor Zakharova V.T.

Running organization - Oryol Order "Badge of Honor" State Pedagogical Institute

Thesis defense will take place "^" 1993.

hours at a meeting of a specialized council

D 113.11.02 in Literature at the Moscow Order of Labor "Red Banner Pedagogical University" / 107005, Moscow, st. F. Engels, D. 21a /. Is it possible to get acquainted with the dissertation in the reading room of the MP library? / Moscow, st. Radio, d. 10a /.

Scientific Secretary of the Specialized Council

candidate of philological sciences Baturova T.K.

In the last three decades, the legacy of I.A. Bunin has been closely scrutinized by Russian literary criticism. At the present time, the features of his realism, the dialectic of the development of prose, many parts of the style, and the influence on the formation of the individuality of the writer of Russian classical literature are considered in detail. Known are the works of Vantenkov I.P., Heydeko V.A., Grechnev V.Ya., Klimova G.P., Kozhemyakina L.K., Kolobaeva L.A., Kuchepovsky N.M., Liyanop V.Ya., Logvyanov. A.S., Lyavdansky E.K., Nefedova V.V., Smirnova L.A., Lr. Each of the books and articles contains many interesting and important observations on Bunin's psychological skill, which manifested itself in individual works or periods of creativity. However, there is still no special study devoted to understanding the principles of psychologism of the most talented artist of the 20th century, a refined connoisseur of the human soul In the dissertation under review, an attempt was made to fill this gap.

Yves Bunin himself directed his readers and critics to the path chosen in this work. Repeatedly, "in various forms, the writer spoke about one of the most significant attractions for himself:" I am mainly interested in the soul of a Russian person in a deep sense. seems to be a necessary, promising, as it seems, line of their research. The study of prose from this point of view made it possible to establish different directions. perception. .em art of the past and the experience of contemporary writers.

Comprehension of the "Russian soul" is inextricably linked with the writer's cognition of his contemporary and universal spiritual processes. There is nothing exceptional here, such is the law of literature. But in relation to Bunin, this position follows? emphasize. Often, his discovery of deep psychological * contradictions, "moral decline entirely e-chfelyagats for characterization of the national character. , Or accused of complete indifference to man, cold "cosmism." In reality, the creator of the "Village", "Mr.

\ Bunin "::. A * Collected works. th 9 vols. - Mit Khudo", lit.; 1967. Vol. 9, -С, 536. Further Without reference to this edition, see the text.

cisco" explained the tragic state of the individual with empathy and empathy. "Unprecedented catastrophes" of Russia towards the whole world, grimaces of the Lalyshian civilization of the 20th century. Comprehension of reality, the "Russian soul" tends to similar conclusions.

The starting point in this work was the realization of achievements. Russian /ancient and classical/ literature, which largely predetermined the search for Bunin the psychologist. As a result of this correlation, a stable time is revealed. and Dr. Bunin’s characteristic interest in various “channels** of human inner being, its searches, movements, dissonances. Close attention to the processes of inheritance of previous artistic achievements made it possible to establish truly Bunin's accomplishments in this area.

The purpose and aim of the work. The study of the principles and methods of Bunin's psychological analysis determined specific ways of research. It is directed, firstly, to understanding Bunin's creative connections with ancient Russian hagiographic literature, with some lines in the work of Pushkin, Dostoevsky, Tolstoy, Chekhov. Secondly, to the discovery of the facets characteristic of Bunin's prose in the psychological portrait of his contemporary and more broadly, the features of universal human psychology. Thirdly, to clarify the author's ideas about the harmonious personality and the reasons for the spiritual disharmony of a person.

Metopes of research” The work uses historical-functional and comparative-typological methods of researching works of art; which are considered in the elinstve of content and form ”The city of I.A. Bunin of the 1910s was chosen as the material for the study as the First Period, which vividly expressed his inclination to discover the secrets of the human worldview, in particular, the "Russian soul-"", - Nsikhaki Slav * It was by this time that the main creative principles of Bunin took shape, settled down, which largely determined all of his subsequent works * A number of comparisons were made of different editions of Bunin's works of the 1910s, if necessary, attention was paid to Yush's early late works of the writer, used © articles, diaries, statements, memoirs of rooks close to him, materials of the Central State Museum of Modern Art in the Museum of I.S. Turgenev in Orel.

Historical and literary research has also been undertaken in connection with a theoretical problem of interest to me. B responsible

In literary criticism, two plans have been outlined in the interpretation of psychologism: “as a generic feature of fiction”, since “it is always turned to a person”, therefore it is psychological, and as a “thermal way to depict the inner world of a person.”1 In this dissertation, the first, the general literary function is accepted as a natural prerequisite, the primordial gaze is directed to the second.For Bunin's prose of the 1910s, the following, most significant areas of psychological analysis are highlighted in the work:

1/ appeal to the mental state of the characters on the way to understanding the current reality;

2/ penetration into the inner world of accuracy about the purpose of correlating different tendencies of being; concrete-temporal and eternal, national and universal, ontological and epistemological;

3/ generalization of the heterogeneous spiritual experience of people as a means of expressing the author's concept of life, social, natural, cosmic. The scientific novelty of the dissertation is due, firstly, to the extremely low degree of study of the problems of psychologism in Bunin's work. Until today, there is no separate study where and; this issue was considered in detail” Secondly, in this work, for the first time, an attempt is made to establish the origins of the writer’s psychological skill, to explain the essence of Bunin’s attraction to the experience of classical artists. This approach leads to a clarification of the features of Bunan realism, the place of the writer, in the historical and literary era of the late 19th and early 20th centuries. In the course of the work, a number of previously uncovered typological convergences of Bunin about the search for great artists were discovered; A.S. Pushkin, F.M. Dostoevsky, L.N. Tolstoy, A.P. Chekhov, In many respects, a new interpretation of the spiritual contradictions of the Bunin man, captured by each to understand the meaning of life, surrender to a fading dream, achieve complete unity with the world and at the same time subject to a terrible otkkhiya of consciousness, lack of will. Deepening into the extremely complex, and tense internal state of Bunin's heroes came to the definition of a special channel of psychological analysis of the writers, as well as his "reflections 6 on the possibility of spiritual harmony. Such observations refute what has been preserved until ---g. ------,.; I

; Zaitseva Y, / C Formation of artistic psychologism in the pro. ze M.Yu, Lermontova: Author ^ ¿id,.;. cand. philol. nauk.-M., 1984. C,7"

of our days, the idea of ​​supposedly "pure aestheticism", Bunin's cold indifference to people. On the other hand, they activate the disclosure of the "subtextual" capacity of his short works, "hidden" / from a superficial glance / forms of the author's assessment, that is, they bring closer to understanding the structure of the narrative, various means of artistic expression.

The practical significance of the dissertation. Observations and conclusions obtained in the course of the study can be used in the development of a course of literature of the 20th century, as well as special courses and special seminars on the work of I.A. Bunin; linking with some issues of psychology, they can contribute to the moral education of students in secondary schools and pedagogical universities.

Approbation of scientific results was carried out at interuniversity k, lfeventsky "Ideological and aesthetic struggle for realism in Russian criticism and journalism of the second half of the 19th - early 20th centuries" / Belgorod Pedagogical Institute. M.S. Olminsky; 1935 /, at the Tin Bunin Readings, dedicated to the 117th anniversary of the loosening, lOC-anniversary of the literary activity of I.L. Bunin / Yelets State Pedagogical Institute; 1987 /, at the regional conference of young scientists "Actual problems of philology at the university and school" / Voronezh State University; 1939/. The dissertation was discussed at meetings of the Department of Classical Literature of the Moscow Order of Trudovo!) Red Banner Pedagogical University. The main provisions of the work are set out in published articles and abstracts. /The list is attached at the end of the abstract/.

Structure and volume. The dissertation consists of an introduction, which reveals the relevance, goals, objectives, scientific novelty of the undertaken research, three main parts, conclusion, bibliography and applications.

MAIN SUPPORT.

The content of the dissertation research was determined by the logic of Bunin's creative searches. The first chapter: "The origins of the psychological skill of I.A. Bunin" - is devoted to Bunin's perception of the classical heritage, the development of those close to the writer, according to the original rethought psychological achievements of ancient Russian authors and the discoveries of the largest artists of the 19th century *

Bunin's constant interest in past times, the history of his family, region, Fatherland is widely known. Sacred to myself

Bunin considered the ability to "feel not only his own time, but also someone else's, not only his country, but also others, not only himself, but also others as an inspiration for creativity. Bunin's ability to "melt" someone else's spiritual experience largely determines his image of the inner human world, being one of the important features of his psychological analysis.

Illustrative fact: the development of artistic delivery; of the past, otnmne always coincided with Bunin's orientation towards his idols. About shchh years, he was imbued with admiration for M.Yu., Lermontov. In poetry, especially of the early period, the influence of this world of sea and starry expanses was very strong. The brilliant skill of Ler. Lontov as a prose writer, with his deep penetration into complex, intense "psychological processes, turned out to be alien to Bunin. On the other hand, he repeatedly expressed his very cool, and in some cases sharply critical attitude towards F.M. Nevertheless, a lot in the comprehension of urban reality and the poetics of Dostoevsky's urbanistic, interior paintings was vividly perceived and developed by Bunin in a peculiar way. Pushkin, Tolstoy, Chekhov, as well as ancient Russian hagiographic literature, always aroused in Bunin the reader an inner attraction to the no.

There is information about Bunin's repeated equipment for the most common type of ancient Russian literature - the lives of the saints. In the 1910s, the writer's attention to the genre of hagiography and the historical-religious theme as a whole noticeably increased. At that time, he came close to resolving the mysteries of the Russian "soul and universal psychology / the stories "John Rydalets", "Brothers", "Aglaya", "The Gentleman from San Francisco", etc. / Appeal to the wisdom of the past, to ideals * Russian Orthodoxy" / along with other religious teachings / gave the key to understanding the spiritual paths of the people.

The analysis of Bunine's prose /"John Rydalets", "Saints", "Lirnik Rodion", "Aglaya"/, where hagiographic motifs develop, leads to an understanding of the transformed ancient genre. ideal, moral education of readers and listeners with the help of the image of the feat of the saint or his martyrdom, suffering. Heroes

1 Bunin I.A. Literary heritage.- M: Nauka, 1973.-T.84; I.A. Bunin.- Book. 1, - S.384, Further, all references to the ato edition, see the text.

of these works showed a deep awareness of any act, a quality that, as Bunin notes, his contemporaries lack so much. Bunin's essay of the 1910s is striking in its depth of penetration precisely into the contradictory, spontaneous, conscious behavior of a person, a group of people. That is why sad phenomena are illuminated by means of a changed hagiographical genre: the external preservation of sacred covenants and their unexpected violation in reality.

The discrepancy between the past and the present caused Bunin's perception of hagiographic themes; the artist was interested in the truth of everything from the point of view of the perception of the saints by his contemporaries. Bunin singled out various kinds of inconsistency in this perception. Many characters have retained an unachieved craving for faith, a mast about truth. Sometimes the mention of divine truth is given as something familiar, even stagnant, meaningless / Horizons "Cup of Life", Taganok "Ancient Man" /. The writer reacted especially painfully to the simplification or distortion of the sacred testaments /"John of Rydalets", "I keep silent"/. On the other hand, Bunin vividly responded to manifestations of the memory of great deeds dear to him and even to their updated interpretations /"Larnik Rodion", "Saints"/. The ethical, instructive side of the lives made it possible to understand where the Aalsh ancestors drew their spiritual strength from, what guided their actions. With pain, Bunin told how that energy disappears into, although the desire for good * beauty remains / "Aglaya" /.

The desire to reveal various mental states, their sub-" manifestations, contradictions, the dynamism of the inner life of the personality brought Bunin closer to Pushkin's Creativity. However, Pushkin's man is difficult to correlate with Bunin's man. Pushkin turned to an outstanding, even "in his vices, personality. Therefore, her actions are likened to a powerful, almost fatal force: "And fatal passions are everywhere, and there is no protection from fate." Peak d "aua" / Pushkin discovers the danger of unbridled revelry of passions and "damage to ordinary * motives. But Pushkin is completely unfamiliar with the state of extreme unconsciousness, which causes the automatism of all actions, movements, the aimlessness of emptyness.

In Bunin, the spokesman for the new time, such a variant of the distortion of the human image exists and is frightening. The triumph of the unreasonable beginning dooms innocent people to death / "Brmil", "Spring Evening" /. Moreover, the Carrier of uncontrolled, dark

Pulse detects. their.in themselves is far-at once ”or does not notice, pile. Angry ".yudsteregamshaya" human duiga destructive "Styhiya reaches its." Limit, beyond which - the darkness of madness.

The chapter reveals the significance, for Bunin, of the integral Putakinsky heritage. The attraction to the artistic experience of the great classic is ambiguous. On the one hand... it is a desire to "remember the great achievements of one's predecessor: garonism," brevity, expressiveness of every detail, every phrase. Here Bunin was able to develop some of Pulkine's discoveries in the field of depicting the inner world of a person in relation to his tasks. On the other hand, interest in the Pushkin era is due to the aspiration of the writer of the dramatic period to the bright ideals of goodness, reason, justice. yard", Averky "Thin Grass"1/, correlated with folk characters in Pushkin's work,"

Uncertainty, unsteadiness, uncertainty in a person's choice of his earthly path were keenly felt by the writers of the early 20th century. The time of contrasts: political, social, spiritual - contributed to the mental discord of the personality, the Artist, in his comprehension of this state, turned to the most complex psychological ... processes of time. It is not surprising that creativity ..: in Dostoevsky "- an expert on the secrets of human fur - has acquired special significance. Bunin's attitude to Dostoevsky was complex, Che accepted a lot in the worldview, Dostoevsky's poetics, there was an internal polemic between the younger and the older. But the innovation of Dostoevsky, who revealed the depths of a contradictory personality, could not pass by the writer, who so acutely felt the painful squandering of his spiritual strength,

Bunin, together with other creators of the art of the 20th century, discovered the human tragedy of his contemporary, as evidenced by all his work, in particular such wonderful stories as "Loopy" ears *, "Yermil"; "Spring Night", "Chang's Dreams", "Kazimir Stanplavovyach". Here Dostoevsky's experience was invaluable. Oo-shim, bringing writers together, s-, al about them, you listen to a person’s feeling of the “abysses” of his own spirit and, on the contrary, to doom to loneliness, Bunin, like Dostoevsky; took that moment in the existence of people (., when they were in the Stage of the highest tension, As a result, "a special sensitivity to the environment was awakened,

individual faces and objects were seen more sharply, distinctly, their hitherto unnoticed inner, essential manifestations were perceived.

The paper compares Bunin's stories "Loopy Ears", "Ignat", "Kazimir Stanislavovich" with individual motifs of Dostoevsky's novels. New formulation and resolution of the problems of "crime and punishment", "humiliated and insulted" are considered. And at the same time - the development of many of Dostoevsky's discoveries in the field of expression of the word, the symbolization of phenomena.

Dostoevsky's man, making mistakes, suffering, in one way or another steps on the path of moral perfection or bears within himself a reproach of conscience. Bunin's heroes are not capable of such sensations. But lh is overtaken by another formidable retribution - complete alienation from the crucible, irretrievable loss of landmarks, an eternal journey in a cruel world. The paper disputes the now widespread judgment about the "crime without punishment" allegedly disclosed by Bunin. Bunin brought to its logical conclusion those processes of spiritual decay that Dostoevsky predicted by geniuses.

Bunin called Leo Tolstoy his Teacher, mentor in literature and life. Bunin wrote admiringly: "Perhaps no one in all of world literature was given the opportunity to feel with such sharpness all the flesh of the world ..." "and to debunk what is hidden in the human soul under all forms of a brilliant appearance." / "X, 31 / In Tolstoy, Bunin was attracted by everything! attitude, philosophy, artistic creativity.

In Bunin's prose, one often encounters, in the words of Tolstoy, "people who have not resurrected life", How in a dream Selikhov, Alexandra Vasilievna, Iordansky / "The Bowl of Life" / do not notice the speed with which they are overtaken by old age * death ,. And there is no trace of the days that rushed by in a stupid bustle, even in memory. He is not able to catch something stable in his wandering around other people's houses "Egor empty-headed /" Merry Yard "/. And honest Thoughtful people only in the "deadline" before leaving for another world are frightened of their behavior. "I lived, but I don’t remember anything, not understanding anything *.." - the dying Averky reflects / "Thin Grass", 1U, 146 /. Following Tolstoy, Bunin found an expressive situation for the ultimate intensification of this tragically imperfect being. terrestrial "lolyuA"

Bunin, like Tolstoy, relies on moral criteria in

definition of the meaning of existence. Depending on the content of the lived years, a picture of a person's death is recreated. Bunin writes about the death freed from physical suffering of those who paid tribute to the experienced joys, remained faithful to love for loved ones / Anisya "Chosely Dvor", Averky "Thin Grass", "Zakhar Vorobyov" /. Appeal to the boundary situation - "life - death". - disclosed with unprecedented depth by Tolstoy, - an important direction in Bunin's psychological analysis.

Unlike some researchers who deny this feature of Bunin's prose, we come to the conclusion that Bunin sensitively perceived and expressively embodied the mobility of inner being, very often resorted to the "mental monologue" of the characters. Undoubtedly, and others: many of the characters in the stories of Benin are given in the process of serious reflection and mental metamorphosis. There is, however, a very significant difference in this area between the two writers. The person in Bunin's works cannot answer the main questions for himself. Painful throwing does not end with an approximation to the truth. The writer of modern times speaks of the fragility and shakiness of spiritual experience. The youngest of his contemporaries operates with other vital "material", gravitating towards people who, in Tolstoy's words, do not live, but only "prepare" for life. That is why the "dialectics of the soul" in Bunin's prose is different. "It is rather tense, based on collision and interaction, deep feelings, important thoughts. Nevertheless, this process does not lead to insight, it is hampered by doubts.

Bunin's steady, spiritual attraction to the amazing Chekhovian world never dried up. What brought both writers together most of all was the comprehension of the personality of their time; Each writer went his own way, but both discovered in the everyday atmosphere the pulse of time, equally significant and different tendencies of people's inner being, clearly conveys the idea: human life is terrible, in which "nothing happens", where everything is dominated by getting along" gloomy calmness, lethargy, indifference to everyone and everything / Chekhov "Ionych", "Gooseberry", Bunin "Caring / # Often Chekhov's th Bunya's characters are guided by an attitude that has evolved over the centuries: to live "like people, so do we", according to the principle "who is assigned to what * / Czech "In the ravine",

Bunin "Village"/. However, the views of the creator of the story "The Village" are more gloomy. He suspected that the decomposition of the peasant chip, its deepening in spaces cut off from cultural centers, had imposed on the soul of the inhabitant? countless "faints" an indelible seal of lack of will, weakness. Not having established themselves in the bottom of today, people in Bunin's works cannot correctly assess their past, find the reasons for their failures, unfulfilled dreams.

Memories "circle" an unprepared person within his narrow ideas about the past, present-existing. He is able to feel the insufficiency of his own knowledge, but he is unable to overcome their limitations. Bunin was reproached for static prose / Z. Gig pius /. They did not take into account the fact that artistic time in works is subject to a searching thought, It cannot be frozen. Blip comprehends a rare effect of "compression" of diverse impressions, reminiscences, debilitations under the influence of one striving. Subordinate to the thought of life, Averkpy /"Thin Grass"/ constantly "moves" from distant youth to a later period, then back to the present, then to the ratio of elder and youth. No less complex picture of temporal shifts is reflected in the reflections of Kuzma Krasov, Anisya /"Derev1 1", "Merry Yard"/, and many others. This is done brilliantly in the short story "The Cup of Life". Chekhov's principle of filling a small "vessel" with great content was adopted and developed by the Bund,

The second important feature that brings together Chekhov's and Bunin's works is the close attention to the image of a closed space* symbolizing the monotony, stagnation of the human soul. Chokhov's spatial characteristics had different tendencies to a bitch, such as a solo lying in a ravine, an estate with gooseberries, a house, yes, a case made of glasses, a coat, galoshes, an umbrella / "In the ravine" "" "Gooseberries", " .The man in the case "/" Brilliantly varied Bunin's old contemporary technique - narrowing and expanding spatial gaps - to reveal the contradictory state of a person *.

In Bunin's prose, ""his own version of this phenomenon, determined by the activation of the subjective-author's beginning in the narrative. The image of a huge beautiful and mysterious world" in relation to which the area of ​​\u200b\u200bhuman habitation looks sadly narrowed, the writer creates, guided by his ideals and beliefs * The characters of his stories unable to rise to such insights.Therefore, in one veak chaoto are concentrated two opposite

selfish images.

At the end of the chapter, the results of the first part of the work are summarized. The perception of traditions by Bunin proceeded along different lines: internal polemics with Dostoevsky, conscious following the artistic achievements of kutlirop /Putin, Tolstoy/, as a result of a parallel "kindred" search /together with Chekhov/. But no matter how visible Bunin's contacts with his great compatriots arose, he came to original creative wounds.

Usually, when they talk about the innovation of Bunin the prose writer, he refers to the originality of his story of the highest craftsmanship. In the first chapter, a considerable place is also devoted to this1,r/ phenomenon. But the appeal to him follows the comprehension of the original, primary artistic search. The source of all Bunin's innovations in the field of prose is a short description of a pro-delete "cut" of being, spontaneous for the mass of "middle" people, subordinating them to a monotonous existence and cutting through for some in a short time before death. Then a "protalnso" flares up in the mind, leading to eternal questions about s! Tolstit.) "Dlploktnku blows.", shyuklaanga special distance io.chpu by the author I cry schnshEvlopvY # in a completely different way, in comparison with Chekhov, the spiritual ggar of a person is rasdapyashot. From the creators of the verbal art of the "golden age" Bunin inherited a number of Vglpoyayakh prinsheshev and methods of psychological analysis and enriched!

The second chapter - "Nothing. togkchost; ^ poptgz? soprzm" znnpt ^ "1 - is devoted to the principles of creating a psychological portrait of a person by I.A. Bunyatm at the beginning of the 20th century. what? but with words, I would say some form of the fifth, forcing the fruit to pzred sobse. p / 1X, 3-15 /. Every day ha butshekaya go;) ov is unique, ko e izh "group portrait shows through the face of the whole country about the Specific! vrzmeshisha yaryattada,

In terms of the internal similarity of the characters, their ptch ksya But from different groups, where the expressiveness of the individual cloud yato sets off the similarity of spiritual properties, In 1910-0, Bunin's understanding was especially attracted!

lila, self-sacrificing godute washed away the purpose of your own eumotive-"

Living in a state of overwhelming unconsciousness;

Dreamers who replaced reality with fiction;

Lost, made an irreparable mistake;

Finding harmonious unity with the world.

A literary text cannot, of course, be divided according to such features. Nevertheless, the author's acute interest in precisely these inclinations of the human soul in Bunin's works is obvious.

The writer was especially attentive to the truth-seekers, seeking to understand the essence of their own and common life. Anxiety, restlessness, faith in some, yet unknown, destiny move them. Often these people in Bunin's works are "wanderers" who never found shelter, did not find the true purpose of existence, nevertheless, nevertheless touched the mystery of being / "Zakhar Sparrow! "Aglaya", "Kuzma Krasov" Lers.nya " /, The gap between the remarkable abilities of the individual and their flawed implementation arises, deepens and often ends in painful death,

The allegedly unclouded existence is masterfully depicted, where everything at first seems to be smooth, calm. surfaces - leisurely - . the course of events. Only in the "subtext" of their transmission are notes dissonant with external facts, say, "prophetic dreams", increasing anxiety or isolation of the personality. And when a deceptive / at first glance / series of actions approaches almost the final, the prevailing ideas about the heroes suddenly explode, Often this happens "at the end" of their lives, This is how a strong emotional effect is achieved, But it is not at all for him that such an expressive composition is used. ? reception. Hidden, intuitively or consciously, a contradictory psychological state is rapidly growing at an extreme moment, violently breaking through. The sharpness and pain of the mental upheaval express the author's critical view of complex phenomena.

No less attractive to Bunin's reflections, although in an opposite emotional vein, is another type of person, who completely surrenders to the calmness of general disunity. Sometimes this is how a vague desire for self-affirmation / "I keep silent" / is manifested. More often the bitter experience of hiding his individuality, natural

possibility, a lost creature / "Night Talk", "Yermil", Yegor "Merry Yard" / or egoistic "non-thinking" / "Mr. from San Francisco" /, In any case, life's wanderings are meaningless, ugly and strange, objectively end in a tragic collapse personality.

Bunin surprises with the secrets of the human soul. And he writes about them so freely, without resorting to the role of a moralist-educator, that the development of artistic impressionability, refined perception of the text is required in order to finally understand the depth of the author's thoughts. It seems that it is necessary to speak not only about stylistic mastery, but first of all about the discovery of real, truly evolved psychological movements. In The Merry Yard, Bunin conveyed glimpses of pain, a desire for warmth in Yegor's almost extinct consciousness. The "self-destruction" of the personality does not at all look like a beginningless and endless process, although the author finds the root of the fights of the Russian person in it.

Bright dreams often accompany Bunin's heroes. They tend to have a generalized and maximalist idea of ​​their future. It is quite possible to say that in this refined sphere one can feel a contemplative beginning devoid of thoughtfulness: the illusory dreams of the /"Clan"/ win. They lead away from the complexities of reality. But those preserved in the soul until old age become the most precious and wonderful memory of the past.

The human dream in Bunin's works is reflected heterogeneously. The writer found in her not only a young / unstable / flowering, but also maturity. "Merry Yard" "Zakhar Vorobyov", "Thin Grass", "Good Blood" - everywhere there is a sincere meaningful hope for the establishment of healthy and good foundations of life,! just as natural ideals.” Spiritual energy is devoted to the service of earthly beauty, but at the same time, even with Bunin's favorite heroes, attraction to beauty almost always remains unrealizable. It is not surprising that the writer peers intently into the origins of human deviations from the truth necessary for everyone, expressively conveying the "hierarchy" of such deviations,

Bunin closely correlated a person’s ideas about joy with his dual nature: “reasonably.”, souls” and “thoughtless mechanism” / Lek-chvt, to whose philosophy the writer gravitated, see “Life Ar-

seneva "U. Ideally, they should merge into a phenomenon of personality, capable of" accommodating the entire visible and invisible world into one's heart" / "Brothers" /, spiritualize earthly sensations and give sensual strength to exalted desires. In an atmosphere of tragic disunity of people, their irresistible loneliness fades fragile urges for harmony, and the whims of ordinary, beaten pleasures vanish.

Few of Bunin's heroes achieve the Garuokic worldview. But perishably they bring us closer to the author's ideal. Of particular importance here is the human ability to deeply feel the earthly beauty, enrich in communication with the pai donu and give back to people. Works of this sound are imbued with the author's admiration for a truly poetic and humanistic talent / "Lirnik Rodion", "Horo: ail of blood" /. "Lirnik Rodion" and "Good Bloods" are brought together in the main pathos - admiration for a creative person who gives strength for the benefit of the current moment and for the improvement of human existence, the Writer is a wonderful embellishment. Therefore, in the geos of these stories there is not even a shadow of idealization, each person appears in the usual form, characteristic of his environment and occupation. Nevertheless, it is the rare success of their creative aspirations that is obvious, Rodion and Lipat are truly necessary for people, help them live and work. On the other hand, both understand their own purpose, and with deep satisfaction do their favorite work. Here one can read Pivatol's view of the harmonious worldview - comprehension and joyful, interesting for oneself and necessary for others, invariably selfless and full of a sense of one's own; service to the world is of great dignity, Awareness of duty and a sense of happiness coincide.

Conditionally dividing the works of the 1910s with positive and negative reactions to oueeee, we tried to show that all Bunin's works carried some kind of life-affirming charge. With a few exceptions, Bunin does not have a hero in whom there would be a rutsteoral ■ - light potency, In the most gloomy figures, their forced dependence on a completely unchanged situation is always shaded, that is, here we are not talking about congenital defects, This observation is emphasized especially, because that it does not coincide with the conclusions of a number of researchers.

Oenov of the third chapter: "Achieving the causes of spiritual dysgavmonia". - makes up the comprehension of Bunin's penetration into the reasons for the spiritual disunity of a person with the world. Literary critics have repeatedly noted that the personality in Bunin's works "looms against the background of the enormous scale of being - national historical life, nature, the beating of the earth, in relation to eternity." * However, the meaning of the influence of the world on a person in Bunin's work is still not installed.

Nature, from childhood "entering" the human soul, largely determines it. Most of all, they are brought together by eternity: the movement, the unity of the infinitely large and the infinitely small, the change of states, capable of sleep and rebirth. But natural ¡ar is harmonious. Benefits and expediency, purity, and naturalness reign in it. It is the verse of qualities, Bukin rightly believed, that a person needs. It is not surprising that images of natural beauty often become a systole of a constant burden;:. h characters to get rid of the moral * nolugoe / "Chyaz of life", "Thin grass", "Dreams of Chapga" "/. "In the life of g touching, everything is full of meaning, seo is significant," Buniya thought /¡3,203/. However, people come to this conclusion too late. nothing can be corrected already * but you need to sum up the sad results of life. Ra high iota ball I otyrayaenaya sounds bunii-sky *.?<ЗогЬтнЗ, красочней "

Shyzzzh s will produce Bukin ggpogofootshepalen. He does not just pzrekaot kastrsenpo "creates a fbn narrative, but is an independent Protagonist;! * In his role" answers to important philosophical questions, Love i sastt&í death "is a dream, regardless of the ae-.lanzya of a person, conjugate with the realm:! zvknoZ irasoty. The author of the posto-nznd emphasizes pt * his own only * In sbginny with yrarola, the splaa tieitcmitj, potavgosh urges buiybknh yarsokazhi, the meaning of the inner mood, Eütá esla, this connection is omnidirectional /experiences of Aireaba in "Merry Dyore"/. Aztorsigir "ideal constantly manifests itself in the bright colors of Blooms" according to Motai of retribution is also conveyed by the raging natural disaster /"Brothers", "Mr. from San Francisco"/.

* Kolobaava.L.A ”The concept of personality in Russian realistic literature at the turn of the SH-UH sh-s, - M .: MGU, na?.-0.39.

"Psychic traits of a Slav" have long been formed under the influence of many natural factors. It is impossible to understand the soul of a Russian apart from his land: from those very fields, steppes, forests, snows, where poor deserted villages got lost. The Russian has long grown together with this landscape - Bunin's works convince of that. The appearance of his characters is similar to native elements: fair-haired, the color of ripe loaves of hair, different shades of blue, like the changing sky, eyes. Slowness and dorota, contemplation and sadness, cordiality and dark instinctive urges - different principles merged in the human personality, which has developed in the atmosphere familiar to it.

Bunin draws his hero in a certain environment close to him since childhood. The characteristic features of the landscape are often repeated, going from story to story, which makes it possible to speak not of an accidental coincidence, but of artistic symbolism. One of the permanent features of the topography of Russia in Bunin's prose is the plain, field, steppe, stretching to the horizons. Endless expanses give rise in a person to a sense of the road, expressing restlessness, an attraction to understanding oneself and the world. Capacious symbolic images of the earth's expanse, a long journey are equally important for depicting the complexities of Russian life and the originality of the human worldview. Therefore, these images, drawn from real phenomena and concretized in the spiritual being of the individual, are enriched by adjacent ones that clarify them.

The road involves not only approaching the unknown, but also a return to the starting point. So "the motive" of "home" appears. Undoubtedly, another symbol is significant, as if extracted by the writer from purely everyday circumstances, but received a generalizing meaning. Movement along country roads and even large tracts in the steppe always raised clouds of sand that covered the traveler's clothes. But this " haze" gives a visual representation of the difficulties of the path - not just moving around, but the search for truth, knowledge of what is. the state of mind of people. In connection with such a figurative series, figurines are movably manifested; our author's thoughts. They are especially vividly embodied in the stories "Village", "Dry Valley", the story "Yermil",

Bunin's heroes are different in age, social status, state of mind. But they all have, although to varying degrees, lack of awakening, unsteadiness of feelings. Only in close relationship with the

rollo(*, changeable and always perfect, a pure, harmonious being of a person could form. Such a welcome experience is most clearly conveyed in the episode of "The Gentleman from San Francisco", dedicated to the Yab Ruzzi highlanders.

It is difficult to agree with the widespread opinion about the absence of ital in Bunin the artist, who managed to see high human impulses even in a tragic atmosphere. Penetratingly in the past, he subordinated the comprehension of the present to the comprehension of the future, thinking about the continuous connection of generations. The existence of a harmonious personality, in Bunin's presentation, did not leave the framework of reality, but fulfills her dreams, the search for the Beautiful was "controlled" by attraction to the majestic beauty of the Universe There was a clear understanding of what a person should be like and what it throws in. The best human features are dispersed in many of Bunin's characters, so the writer's ideal is comprehended in the unity of observations over an integral layer of pro~y.

In conclusion, the results of the study are summed up, the general ones are established: - I whisper the important trends of all three chapters, due to Bunin's creative personality. Peering into the "light" and "tech-nno" sides of the human personality, reflecting on the historical paths of Russia, the Christmas tree spiritual state of compatriots, about the barefoot natural world, the writer made many bad discoveries, many of which were prepared by independent, creative development of achievements Russian classics. A parallel and a broomstick are drawn here to the quests of Bunin and his contemporaries, the long-term prospects of the chosen one are outlined.

The main provisions of the dissertation are reflected in the following publications:

1. To the disputes about the genre of the work of I.A. Bunin "The Life of Arseniev" // Idkyno-aesthetic struggle for realism in Russian criticism and journalism, the second best of the XIX - rocked the XX centuries. /Study of literary criticism in pedagogical institutes/. Abstracts. - Belgorod, BSPI, 1935, - P. 57-58.

2. I. A. Bunin-i L.P. Chekhov /Materials for the lesson of a literary circle for students of the 9th grade/ //Organization of extracurricular work in the Russian language and literature in school. Guidelines. - Belgorod, BSPI, 1989, - P. 75-85.

3. The theme of childhood in the poetry and prose of I.A. Bunin // Russian poetry of the 19th century and its relationship with prose. Interuniversity. subject. Sat. scientific tr.-M "MY !!", 1990.-S. 122-131.

184. Psychologism in the story of Iv. Bunin "John Rydalets" // Creative individuality of the writer and problems of realism, Mazhvuz. Sat. scientific tr. -Belgorod, BPSh, 1991.-0.119-132,

5. About the nature of psychologism of I.L. September 1990.-Eagle, 1991.

6. Expression of the word in the poetics of Bunin and Dostoevsky // Interaction of creative personalities of writers of the 19th-early 20th centuries. Interuniversity. those ¡lat. Sat. scientific tr, -M., MLU, 1992,

Signed for publication January 25, 1393 Volume I 0 cl. Circulation 100 eq. Order No. 15 Rotaprint VI01EM, Belgorod, B. Khmelnitsky, 86

Master class on the use of "Reflection Sheets" at the lesson-workshop

on the topic "Analysis of the features of psychologism in the story of I. A. Bunin "Clean Monday"

teacher of Russian language and literature

highest qualification category

MBOU Sarsak-Omga Lyceum

Agryz municipal district of the Republic of Tatarstan

The purpose of the lesson: to promote the formation of spiritual and moral guidelines; to help students comprehend the complexity, depth, features of the psychologism of the story by I.A. Bunin; improve the ability to speak with reason; develop oral and written skills.

Equipment: slide presentation, "Sheets of Reflections", texts of I.A. Bunin's story "Clean Monday", musical accompaniment: Beethoven - Moonlight Sonata (Piano Sonata N14), Cancan (mp3ostrov.com), Russian-Orthodox-liturgy-Symbol -faith(muzofon.com).

I . Inductor (switching on feelings). The goal is to create an emotional mood, connect the subconscious, a problem situation is the beginning that motivates the creative activity of everyone.

The story of I.A. Bunin “Clean Monday” is a story about the love of a young couple. But the main characters don't have names. The deliberate absence of names is indicated by the fact that there are a lot of names in the story. And these are the names of real people. These are either the authors of fashionable works (Hoffmansthal, Schnitzler, Tetmayer, Pshibyshevsky); or fashionable Russian writers of the beginning of the century (A. Bely, Leonid Andreev, Bryusov); or genuine figures of the Art Theater (Stanislavsky, Moskvin, Kachalov, Sulerzhitsky); or Russian writers of the last century (Griboyedov, Ertel, Chekhov, L. Tolstoy); or heroes of ancient Russian literature (Peresvet and Oslyabya, Yuri Dolgoruky, Svyatoslav Seversky, Pavel Muromsky); the characters of "War and Peace" are mentioned in the story - Platon Karataev and Pierre Bezukhov; once the name of Chaliapin is mentioned; the true name of the owner of the tavern in Okhotny Ryad Egorov was named. One fictitious name is mentioned - the name of the coachman Fedor.

II . Self-instruction (individual solution). Students' opinions are heard.

Information for the teacher. Behind the actions and appearance of the heroes of Clean Monday, we unmistakably feel the presence of something more significant, which is subtly, with amazing skill, but also with amazing perseverance, Bunin weaves into his usual love plot. This essential is the soul, the inner world of the characters in the story.

III . Socioconstruction. The most important element of the master class technology is group work. Building, creating a result by a group. Groups work on a specific topic. The work of the group is organized as communication by correspondence, during which both individual writing products and collective creative work are created.

Teacher: a system of means and techniques aimed at a complete, deep and detailed disclosure of the inner world of heroes is called psychologism in literary criticism.

There are two main forms of psychological depiction in the literature:

1. Psychologism is open, explicit, direct, demonstrative. The main technique is psychological introspection, which is complemented by a system of artistic techniques close to it: internal monologue, dialogue, letters, diaries, confessions, dreams and visions of heroes, first-person narration, improperly direct inner speech, “dialectics of the soul”, “stream of consciousness” (an extreme form of internal monologue).

2. Hidden, indirect, "subtext" psychologism, aimed at analyzing the inner world of the hero "from the outside". The main technique is psychological analysis, which is used in combination with other techniques: portrait, landscape, interior, artistic detail, commentary, silence.

What forms and techniques of psychologism are used in the story by I.A. Bunin “Clean Monday? We will try to answer this question in the course of group work. Two groups will work: one on the topic “Open psychologism” in I.A. Bunin’s story “Clean Monday”, the other on the topic “Hidden psychologism in I.A. Bunin’s story “Clean Monday”. Everyone gets a "Thinking Sheet" with a question on it. Answer the question, pass the “Sheet” to a neighbor in your group. The “leaf” must return to the “owner” with the opinions of all members of the group on the question asked.

Sample questions for a group working on the topic "Hidden psychologism" in I.A. Bunin's story "Clean Monday" and information for the teacher.

(The teacher can choose some of the questions at his own discretion, he can create another one within the group, since there are many methods of “hidden psychologism” in the story)

1. How does the portrait reveal the heroine?

Information for the teacher. This is an oriental beauty in all the splendor of her non-Russian, non-Slavic beauty. And when she “in a black velvet dress” appeared at the skit of the Art Theater and “pale with hops”, Kachalov approached her with a glass of wine and, “looking at her with mock gloomy greed,” said to her: “The Tsar Maiden, the Queen of Shamakhan, your health!" - we understand that it was Bunin who put into his mouth his own concept of duality: the heroine, as it were, is both a “tsar-maiden” and a “shamakhani queen” at the same time. It is important for Bunin, it is extremely necessary to see and emphasize in it the duality of appearance, a combination of contradictory and mutually exclusive features.

2. How does the heroine reveal her origin?

Information for the teacher. Russian, Tver is hidden inside, dissolved in the mental organization, while the appearance is completely given over to the power of Eastern heredity.

3. The heroine visits both ancient temples, monasteries, and restaurants, skits. How does this characterize her?

Information for the teacher. Her whole being is a continuous throwing between flesh and spirit, momentary and eternal. Behind the visible secular gloss, it has primordially national, Russian principles. And they turn out to be stronger, as they manifest themselves in beliefs.

4. Why was the view from the window of the Kremlin and the Cathedral of Christ the Savior and a visit to the Novodevichy Convent and the Rogozhsky cemetery so important for the heroine?
Information for the teacher. In the story, the signs of the modern era are correlated with the inner world of the narrator, yet, as for antiquity, churches, cemeteries, it is the inner world of the heroine. And also mentions of holy places (Conception Monastery, Miracle Monastery, Archangel Cathedral, Marfo-Mariinsky Convent, Iberian Chapel, Cathedral of Christ the Savior) testify to Bunin's deep nostalgia.

5. How does the interior characterize the heroine?

Information for the teacher. In the heroine’s apartment there is a “wide Turkish sofa”, next to it is an “expensive piano”, and above the sofa, the writer emphasizes, “for some reason a portrait of barefoot Tolstoy hung”. A Turkish sofa and an expensive piano are East and West, barefoot Tolstoy is Russia. Bunin expresses the idea that his homeland, Russia, is a strange but obvious combination of two layers, two cultural patterns - "Western" and "Eastern", European and Asian. This idea runs like a red thread through all the pages of Bunin's story. In numerous allusions and half-hints that abound in the story, Bunin emphasizes the duality, the contradictory nature of Russian life, the combination of the incongruous.

6. The poetry of the story is manifested in the sound and rhythmic organization of the text. Contrasts are also striking here: “the slow, somnambulistically beautiful beginning of the Moonlight Sonata is replaced by a can-can, and the sounds of the liturgy are replaced by a march from Aida. Throughout the story, the heroine plays Beethoven's Moonlight Sonata. How does this characterize the inner world of the heroine?

Information for the teacher. The alternation of the most important motifs - temporal and eternal, the life of the flesh and the life of the spirit - forms the rhythmic basis of the story. The heroine is attracted to the eternal.

7. The heroine of the story finally decided to go to the monastery on "Clean Monday". Why on this particular day and how does it characterize her?

Information for the teacher. Pure Monday is the first Monday after Shrovetide, therefore, the action takes place in early spring (end of February - March). The last day of Shrove Tuesday is “Forgiveness Sunday”, on which people “forgive” each other insults, injustices, etc. Then comes “Clean Monday” - the first day of fasting, when a person who has been cleansed of filth enters a period of strict observance of rituals when the Maslenitsa festivities end and the fun is replaced by the severity of the life routine and self-focus. On this day, the heroine of the story finally decided to go to the monastery, parting with her past forever. Pure Monday is both a transition and a beginning: from a secular, sinful life to an eternal, spiritual one.

8. How can one explain the chronological discrepancy between the facts mentioned in the story? (At the end of the story, Bunin even accurately indicates the year in which the action takes place. Bely, who lived in Germany, was no longer in Moscow. By that time, the Literary and Artistic Circle had almost ceased its actual existence).

Information for the teacher. Bunin calls the time of the action of his story the spring of the thirteenth year. 1913 is the last pre-war year in Russia. This year is chosen by Bunin as the time of the story, despite its obvious discrepancy with the details of the described Moscow life of the era that survived it, this year has generally grown into a historical milestone of great importance. Bunin combines facts separated in reality by several years in order to further strengthen the impression of the diversity of Russian life at that time, the diversity of faces and people who did not suspect what a great test history was preparing for them. Anxiety and restlessness emanates from its pages. The bearer of these properties - the properties of time - is to a large extent the heroine.

9. Does the landscape play a role in depicting the heroine’s inner world: “A Moscow gray winter day grew dark, gas in the lanterns was coldly lit, shop windows were warmly lit - and Moscow’s evening life liberated from daytime affairs flared up: cab sledges rushed thicker and more cheerfully, thundered harder crowded, diving trams…”?

Information for the teacher. The landscape seems to anticipate an acquaintance with the contradictory nature of the heroine. Antithesis technique is used in the landscape. A whole system of oppositions is built in the story: the hero and the heroine are different in character; the elegant secular life of the heroine and her deep religiosity; love without external obstacles, and its tragic ending. The movement of the text seems to be controlled by two opposite motives - the vulgarity of the surrounding reality and the spirituality of eternal values.

10. Why does Bunin saturate the story with an abundance of names of writers?

Information for the teacher. To show the different inner worlds of the heroine and the hero, he uses literary names (tell me what you read and I will tell you who you are). The hero gives his beloved fashionable works of European decadence, a novel by V. Bryusov, which are not interesting to her. In her hotel room, “for some reason, a portrait of barefoot Tolstoy hangs,” but somehow, for no apparent reason, she recalls Platon Karataev ... In an aristocratically refined and mysterious, the features of Katyusha Maslova, sacrificial and pure, suddenly appear in her resurrecting soul from the last (most beloved by Bunin) novel by L.N. Tolstoy "Resurrection".

eleven . What is the meaning of the main episode - "skit" in the Art Theater?

Information for the teacher. The cycle of “fake, comic and buffoonish theatrical action” does not attract the heroine, but causes aching mental pain, which strengthens the heroine’s religiosity, her desire to go to the monastery.

12. In the story, impersonal verb constructions are often used (“... for some reason, I definitely wanted to go there ...”). What is the purpose of these constructs?

Information for the teacher. The movements of the soul of Bunin's heroes defy logical explanation, the heroes seem to have no power over themselves. This is the essential difference between Bunin's psychologism and L. Tolstoy's "dialectics of the soul" and I. Turgenev's "secret psychologism".

13. What role do the details play in creating the psychological portrait of the heroine?

Information for the teacher. In "Clean Monday" the motifs of the vain world and spiritual life echo with other works by Bunin. The substantive basis for the motif of the vain world is functionally loaded details: literary bohemianism is depicted as a meaningless "skit", where there are only "shouts", antics and posturing. The “spontaneous” details correspond to the motive of spiritual life: descriptions of nature and architectural monuments (“The evening was peaceful, sunny, with frost on the trees; on the bloody brick walls of the monastery, jackdaws resembling nuns chatted in silence, played on the bell tower). The feelings of the artist, who loves his native nature with all his heart, are conveyed through the color scheme and emotionally tinted epithets (“subtle and sad”, “light”, “wonderful”, “on the golden enamel of sunset”).

Sample questions for a group working on the topic “Open psychologism in I.A. Bunin’s story “Clean Monday”

1. How is the heroine characterized by her interest in the legend of the maiden Fevronia and her husband Peter?

Information for the teacher. These are signs of a dramatic internal struggle, the agony of choosing between the available attributes of happiness and the call of infinity, the last secrets of Russia. its religious depth. An extraordinary restrained force emanates from the words of the heroine, retelling a well-known story. Moreover, two pages earlier, it was about a completely similar temptation, in the face of which, as it turns out, the heroine herself is, also authoritatively taking him aside. “When I arrived at dusk,” says the hero, “I sometimes found her on the sofa in only one silk arkhaluk trimmed with sable ... I sat next to her in the semi-darkness, without lighting a fire, and kissed her hands, feet, amazing in its smoothness body. .. And she did not resist anything, but everything was silent. I constantly looked for her hot lips - she gave them, breathing already impetuously, but she was silent. When I felt that I was no longer able to control myself, she pushed me away ... ”The connection between these two moments is obvious - the Old Russian narrative and what happens in the story.

2. To the bewildered question of the hero, how does his beloved know about the details of the Old Believer funeral rite, the heroine meaningfully answers: “You don’t know me.” How is the inner world of the heroine revealed in this dialogue?

Information for the teacher. Her vague answer conceals, according to the writer, a hint of the tremendous importance of the work that is being done in her mind and which leads her in the end to the thought of a monastery. In the context of the whole story, this means - to the idea of ​​the need to abandon the clearly expressed duality that constitutes the essence of its origin, its nature and its external appearance.

3. How is the heroine revealed in the dialogue about the future?

Information for the teacher. Insisting on his love and expressing readiness to wait for the consent of his beloved to become his wife, the hero of the story fervently asserts that only in love for her is happiness for him. And he hears a calm answer: “Our happiness, my friend, is like water in a delusion: you pull - it puffed up, but you pull it out - there’s nothing.” - “What is this?” - the hero asks warily and again receives in response: "This is how Platon Karataev spoke to Pierre." And then he waves his hand in despair: “Oh, God bless her, with this oriental wisdom!”. There was an opinion in Russian literature that the theory of non-resistance arose in the East. The heroine professes the "oriental wisdom" of non-resistance. However, it is not contemplation and social passivity that characterizes it in the first place, namely duality - nature, origin, spiritual makeup, passions IV. Socialization. Any activity in the group represents a comparison, reconciliation, evaluation, correction of the surrounding individual qualities, in other words, a social test, socialization.

V. Advertising - presentation of the results of the activities of the participants of the master class by groups.

VI. Gap (internal awareness by the participant of the master class of the incompleteness or inconsistency of the old knowledge with the new, internal emotional conflict).

Teacher: why is the heroine given so much attention in this story and why was this story so dear to I.A. Bunin? (Children's opinions are heard)

Information for the teacher. The saturation of the inner life of the heroine, the constant presence behind everything that she says and does, of the second, hidden plan and creates the impression of the significance of the image. Solving the problem of the future life for herself, the heroine of the story solves it against a very turbulent background of a well-defined historical period. In these searches there was a share of the mental participation of Bunin himself. He completely departed from the revealing tendencies of pre-revolutionary creativity, which caused the specific nature of the solution to the problem of fate he proposed in Clean Monday. Bunin's thought struggles in a certain way to resolve the "mystery" of Russia. He offers us one of the answers in his story.

VII. Reflection. How will I solve the problem of the future life?

Used literature and Internet resources:

I.A. Bunin. Arseniev's life. Dark alleys. Bustard. Moscow. 2004

T.Yu.Gerasimova. New knowledge through the pedagogical workshop "What is spirituality"

S.A. Zinin. Literature in school or school without literature? literature at school. 2009. No. 9

T.A. Kalganova. The problem of reading in modern society and ways to solve it. Literature in school. 2009. No. 12

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FGBOU HPE "MORDOVA STATE PEDAGOGICAL INSTITUTE NAMED AFTER M. E. EVSEVIEV"

Faculty of Philology

Department of Literature and Methods of Teaching Literature

TASK FOR THE THESIS

Student O.V. Rozhkov group FDR-210

1 Topic: The peculiarity of psychological skill in the prose work of I. A. Bunin: theory and practice

Approved according to MordGPI No. 2402 dated November 15, 2014.

2 Deadline for submission for defense: 05/20/2015

3 Initial data for the thesis: prose works of I. A. Bunin of different years, artistic picture of the writer's world, literary critical articles, historical and literary research, memoirs of contemporaries, materials of the author's personal and creative biography.

4.1 Introduction

4.2 Psychologism and features of the external pictorial prose of I. A. Bunin in the pre-October period

4.2.1 Features of Bunin's psychologism in the works of the late 1890s - early 1900s

4.2.2 Psychologism as a dominant device in the stories "Village" and "Dry Valley"

4.2.3 The peculiarity of psychologism in the works of I. A. Bunin in 1914-17

4.2.4 The role of psychologism in the mystical-religious context of the story

"Sir from San Francisco"

4.3 Psychologism in the prose of I. A. Bunin during the period of emigration as a form of recreating the spiritual world of man

4.3.1 The novel "The Life of Arseniev" as a family psychological chronicle

4.3.2 Synthesis of lyrical and psychological principles in the book "Dark Alleys"

4.3.3 Psychological problems of the story "Easy breathing"

4.4 Conclusion

4.5 List of sources used

4.6 Application

Work manager

cand. philol. Sciences, Associate Professor ____________________ S. N. Stepin

The task was accepted for execution by _____________________ O. V. Rozhkova

Essay

The thesis contains 72 pages, 65 references, 1 application.

PSYCHOLOGISM, PROSE WORKS OF I. A. BUNIN, LITERATURE OF THE PRE-OCTOBER PERIOD, CREATIVITY OF I. A. BUNIN IN THE EMIGRATION PERIOD, REALISM, ARTISTIC TRADITIONS, INNOVATION, LITERARY HERO, MOTIVE, AESTHETIC IDEAL, ARTISTIC METHOD, CREATIVE WAY.

The object of the study is the principles and techniques of psychologism in the prose work of I. A. Bunin.

Comparative-typological, structural-analytical methods of research, the method of holistic analysis of a work of art in combination with a descriptive one, and also an axiological approach were used in the thesis work.

Summarizing the material presented in the thesis, the author concludes that the psychologism of I. A. Bunin, his originality, based on the rich traditions of Russian classical literature, became the basis for the subsequent psychological image of a person in Russian literature. And the author himself is undoubtedly worthy of the high title of master of psychologism.

The degree of implementation is partial.

The scope of application is the use in school and university practice of teaching literature in the study of the work of I. A. Bunin.

Efficiency - improving the quality of knowledge of senior students of general education schools.

Introduction

1. Psychologism and features of the external pictorial prose of I. A. Bunin in the pre-October period

1.1 Features of Bunin's psychologism in the works of the late 1890s - early 1900s

1.2 Psychologism as a dominant technique in the stories "Village" and "Dry Valley"

1.3 The peculiarity of psychologism in the works of I. A. Bunin in 1914-1917

1.4 The role of psychologism in the mystical-religious context of the story

"Sir from San Francisco"

2. Psychologism in the prose of I. A. Bunin during the period of emigration as a form of recreating the spiritual world of man

2.1 The novel "The Life of Arseniev" as a family psychological chronicle

2.2 Synthesis of lyrical and psychological principles in the book "Dark Alleys"

2.3 Psychological problems of the story by I. A. Bunin "Easy breathing"

Conclusion

List of sources used

Application

Introduction

Take Bunin out of Russian literature,

and she will fade, lose her rainbow

the brilliance and starry radiance of his soul...

M. Gorky

“My life is a quivering and joyful communion with the eternal and the temporal, near and far, all ages and countries, the life of everything that was and is on this earth, so beloved by me ...” . These words belong to the great Russian writer Ivan Alekseevich Bunin (1870-1953), who, with his whole fate, biography, and, finally, his life, belonged to Russia, to great Russian literature.

The beginning of the work of I. A. Bunin coincided with the beginning of the Silver Age in Russian literature. The peculiarity of I. A. Bunin, a master of psychological prose, is that he is not associated with any currents, trends, groups, and has always remained a realist. Bunin's realism has always relied on an excellent knowledge of human nature, the inner world of his hero, an unusually developed sensory perception of life, the ability to correlate the instantaneous with the eternal. I. A. Bunin sharply negatively assessed decadence. His views on life combined deep tragedy and bright faith in the goodness and beauty of God's world. It is difficult to overestimate the wisdom of a true artist, who allowed the reader to "embrace" life as an instant: from blossoming youth to the tragic loss of old age, from reckless striving for happiness and love to comprehending their essence, in the unity of unique, private and common human destinies. It helps us to understand the innermost states of our soul. Ours - according to different parameters: born by the way of life, the history of Russia and the global processes of the 21st century, carrying the memory of the past and the connection with the current modernity. The courage of insight in the writer's work was combined with the amazing chastity of their expression: after all, they appeared in the most hidden area - the human soul.

The relevance of research due to the fact that Bunin is surprisingly modern in his artistic thinking, fine arts, and psychological discoveries. And this is what allows us to empathize with Bunin's heroes, who seem the most distant at first glance. We are often struck by the integrity and consistency, courage and restraint of Bunin's talent. This is an attempt to psychologically comprehend life, this is a study of the depths of the Russian national character, this is a song about the beauty of Russian nature.

Thus, purpose research is: on the example of the prose works of I. A. Bunin of different years, he will reveal the specific features and characteristics of the writer's artistic psychologism.

The goal determines the solution of the following tasks:

To study and systematize the scientific and scientific-methodical literature on this issue;

To designate the psychological features of Bunin's heroes from the works of different years;

To identify the reasons for the writer's appeal to the reception of psychologism in his prose works;

To reveal the facets characteristic of I. A. Bunin's prose in the psychological portrait of his contemporary and more broadly, the features of universal human psychology;

Determine the place and role of the creative heritage of I. A. Bunin in the framework of Russian literature.

Object of study the principles and techniques of psychologism in the prose work of I. A. Bunin act.

Subject of research is the originality of the psychological skill of I. A. Bunin.

Research material served as the prose works of I. A. Bunin of the pre-October period (“Antonov apples”, “Village”, “Sukhodol”, “Mr. from San Francisco”, etc.) and works written by the author during the years of emigration (“Arseniev’s Life”, “ Dark alleys, etc.).

Scientific novelty work consists in systematizing different points of view on the work of I. A. Bunin, a master of psychological prose. We have presented and analyzed the works of L. A. Smirnova, O. N. Mikhailov, I. K. Nichiporov, V. N. Afanasiev, I. P. Karpov, L. A. Kolobaeva, N. A. Nikolina and others, which determine the need for a comprehensive study on a new methodological basis of the problem of psychologism in Russian literature of the 20th century. Each of the books and articles contains many interesting and important observations on the psychological skill of I. A. Bunin, which manifested itself in individual works or periods of his work. However, there is still no special study devoted to understanding the principles of psychologism of the most talented of the artists of the 20th century, a refined connoisseur of the human soul. Our work attempts to fill this gap.

The research methodology is based on the principles of a holistic analysis of the ideological and artistic structure of the text in combination with descriptive, comparative and typological methods.

Practical significance diploma work. Observations and conclusions obtained in the course of the study can be used in the development of the course of Russian literature of the 20th century, as well as elective courses and electives on the work of I. A. Bunin; linking with some issues of psychology, they can contribute to the moral education of secondary school students and students of pedagogical universities.

Structure and scopethesis determined by the specifics of the tasks put forward in the study. The diploma work is presented on 72 pages and consists of an introduction, two chapters, a conclusion, a list of references, which is 65 titles, and an appendix.

In the introduction the relevance of the topic and the significance of the main problems considered in the work are substantiated, the degree of their study is indicated, the object and subject of research are established, the goal and objectives of the thesis are formulated, its methodology is revealed, the scientific novelty, theoretical and practical significance of the results obtained are characterized.

In the first chapter“Psychology and features of the external pictorial representation of I. A. Bunin’s prose of the pre-October period”, based on the analysis of literary texts and literary works concerning the features of I. A. Bunin’s psychologism, the techniques and methods of psychological depiction of a person in the pre-revolutionary literature of the writer are identified and described.

In the second chapter“Psychology in the prose of I. A. Bunin during the period of emigration as a form of recreating the spiritual world of a person” analyzes the works of the writer of the emigrant period, reveals the foundations of Bunin's psychologism, shows the originality of the manifestation of psychological elements in epic works of large and small forms.

In custody the results of the study are summed up, conclusions are drawn, which the researcher came to in the process of working on the thesis essay. Summarizing the material presented in the thesis, the author concludes that the psychologism of I. A. Bunin, his originality, based on the rich traditions of Russian classical literature, became the basis for the subsequent psychological image of a person in Russian literature. And the author himself is undoubtedly worthy of the high title of master of psychologism.

In the application presented educational and methodological material for the lesson of literature in the 11th grade on the topic "The cycle of stories by I. A. Bunin "Dark Alleys"".

1 . Psychologismand features of the external pictorial proseAND.A.Bunin of the pre-October period

1.1 osfeaturesBunin's psychologismin the works of the end1890s-start190 0 - 1990s

At the turn of the 19th and 20th centuries, the whole world was going through a period that Nietzsche described as "the twilight of the gods." The man doubted that somewhere there is He, the absolute beginning, strict and fair, punishing and merciful, and most importantly - filling this life full of suffering with meaning and dictating the ethical norms of the hostel. The rejection of God was fraught with tragedy, and it soon broke out. In the work of I. A. Bunin, who captured the dramatic events of Russian public and private life at the beginning of the 20th century, the whole tragedy of the European man of that time was refracted. This idea is fully shared by S. A. Antonov: “The depth of Bunin’s problems is more significant than it seems at first glance: the social and psychological issues that worried the writer in works on the topic of Russia are inseparable from issues of a religious and philosophical nature ...” .

The intensive formation and broad strengthening of psychologism in Russian literature at the turn of the century also has deep cultural and historical prerequisites. It is connected, first of all, with the activation of the self-consciousness of a person of a new era. According to Bunin, a person helps to understand his inner world, the world around him, the past life, to which he intuitively strives in his memories.

The psychologism of I. A. Bunin’s prose of the 1890s-1900s is an artistic expression of the writer’s close interest in the fluidity of consciousness, in all kinds of shifts in the inner life of a person, in the deep layers of his personality. The works of the writer of the end of the century largely contributed to the development and formation of psychoanalysis as the dominant component of the work of I. A. Bunin in general, and his works written in the twentieth century, in particular. According to G. M. Blagasova, "... it was in the works of the turn of the XIX-XX centuries that the author outlined ways to reveal the content of the inner world of a person in all the diversity of his individual expression" .

To a large extent, this became possible due to the influence of Leo Tolstoy on his artistic prose of those years. It is felt, first of all, in the peculiarities of psychological analysis, in the economical method of building the character of the hero, strictly subordinate to the moral goal, and in the biblically severe and solemn tone of reproof, and in the literary technique itself, the means of representation, assimilated by I. A. Bunin and moved them much further. I. A. Bunin continued the discoveries of L. N. Tolstoy in literature, extending them to the “small” genre - the genre of the psychological story - “Kastryuk”, “Epitaph”, “Pass”, etc. “In these years,” the writer himself says - I felt how my hand was growing stronger every day, how fervently and confidently the accumulated forces in me demanded an outcome ... ".

Therefore, it is no coincidence that in the thematic plan, the works of I. A. Bunin at the end of the century are also quite different. They are dedicated to the writer's experiences, born of childhood memories or very recent impressions, visits to Russian villages, trips to the southern sea or travel abroad, meeting with simple peasants, or a refined feeling for a woman. Internally, all of his early stories are united by the author's desire to penetrate into the tragic discrepancy between beautiful nature and human existence, the dream of happiness and the violation of the "commandment of joy, for which we must live on earth."

The vague positive ideas of I. A. Bunin strengthened the critical stream in the author's generalizations and at the same time contributed to the search for the imperishable values ​​of being, "sometimes difficult to grasp, unstable or even unlike reality." From this point of view, some of the writer's stories about the village are read quite differently.

“In the work of Bunin in the 1900s,” notes L. A. Smirnova, “the features of realism were sufficiently defined. The writer was keenly interested in the worldview of different social strata, the correlation of their experience, its origins and prospects ... ". Therefore, it seems to us, the author's view was directed not so much to specific human relations as to the internal state of the individual. In most stories, the characters strive in one form or another to realize some eternal questions of being. But these searches do not remove them from reality, since it is it that gives rise to the views and feelings of the characters. Views and feelings, born of the current reality, were revealed at the moment of aspiration to some eternal questions of being. In the depths of the human soul, the artist found values ​​close to himself. Therefore, they were organically woven into the narrative or became the leading blow-ups of the writer himself, reinforcing ideas about the connections between the present and the past, concrete-temporal and eternal, national and universal.

During these years, I. A. Bunin wrote mainly in the first person; at times they were not stories, but essays written by a master pen, sharp observations of everything that the writer saw. Here, for example, is the story "New Road" with poetic landscapes of the wilderness, where the "forgotten life of the motherland" sleepily flows and glimmers. This wilderness must be awakened by a new railroad; Peasants accustomed to the old way of life meet the change with fear. Admiration for the “virgin-rich side”, sympathy for its “young, tortured people”, a sense of the abyss that separates the author from the country and the people: “What country do I belong to, wandering alone? She is infinitely great, and should I understand her sorrows ... ". These sad thoughts permeate the entire story of the writer. He, as a remarkable master of psychologism, "intensely explores Russian reality at the end of the 19th century, looking for worthy undertakings in it." In the process of such a psychological search, his best early works were created: "Antonov apples", "Pine trees", "Birds of heaven", "Late at night" and many others.

In a letter to V. Pashchenko dated August 14, 1891, I. A. Bunin wrote: “You know how much I love autumn ...! I not only lose all hatred for serfdom, but I even begin to involuntarily poeticize it. It is precisely the poetization of the serf past of Russia that is sometimes seen in the story "Antonov apples". And I. A. Bunin himself immediately noted: “And I remember, sometimes it seemed to me extremely tempting to be a peasant ...”. However, for the sake of truth, it should be noted that we are talking about a rich man, about his similarity with the average nobleman. I. A. Bunin sees a reasonable working life, an expedient way of sticking together in a rural rich or beggarly existence. The idealization here is undoubted, not so much, however, of social orders as of the special state of mind of those who are firmly connected with blackening or greening fields, forest roads and ravines. Therefore, on the same note, a story is told about peasant work in gardens, during harvesting, and about lordly hunting. Moreover, I. A. Bunin “does not avoid light irony in relation to the rough-hard nobles and peasants in their“ savage costumes ”, but honors any manifestations of thriftiness and“ old, albeit mannered, life ”. The story was ambiguously accepted by both readers and critics, and it caused a lot of reproaches among the writers. And, nevertheless, both his supporters and his opponents unanimously declared their admiration for the artistic skill and psychological depth of the author's writing style.

The psychological warehouse of a Russian person, regardless of his social status, was more interested in I. A. Bunin. He found the stamp of internal contradictions common to the landowner and peasant. The author wrote: “It seems to me that the life and soul of the nobles are the same as those of the peasant; all the difference is determined only by the material superiority of the nobility ... ".

The story "Antonov apples" overshadowed a lot, if not all, of what was done by the writer in previous years. There is so much truly Bunin's concentration in it that it can serve as a kind of hallmark of a classic artist of the early 20th century. It gives a completely new sound to the themes that have long been known in Russian literature.

For a long time, I. A. Bunin was considered among the social writers who, together with him, were part of the Sreda literary association, published the Knowledge collections, but his vision of life conflicts is decisively different from the vision of the masters of the word of this circle - M. Gorky, A Kuprin, A. Serafimovich and others. As a rule, these writers depict social problems and outline ways of solving them in the context of their time, pass biased judgments on everything they consider evil. I. A. Bunin can touch upon the same problems of being, but at the same time he more often illuminates them in the context of Russian or even world history, from Christian, more precisely from universal, positions. He shows the ugly side of current life, but rarely takes the liberty of judging or blaming someone. Like his beloved Chekhov, he refuses to be an artist judge. According to I. A. Bunin, good and evil are forces rather metaphysical, mystical, they are eternally given to the world from above, and people are often unconscious conductors of these forces - destroying great empires, suddenly throwing a person under a train, exhausting titanic natures in an insatiable search for power, gold, pleasures that make angelic creatures surrender to primitive debauchees, etc.

Therefore, "Antonov apples" not only open a new stage in the work of I. A. Bunin, but also "mark the emergence of a new genre, which later won a large layer of Russian literature - lyrical prose".

In the work, as nowhere else before, the lyrical nature of the plot is fully realized. It is almost devoid of an eventful beginning, except for an event, then a slight movement that is created by the fact that “I”, or “we”, or “he” are going somewhere. But this conditional hero - the lyrical hero of I. A. Bunin - in the fullness and purity of this concept, that is, without the slightest objectifying distance. Therefore, the epic content here is completely translated into lyrical content. Everything that the lyrical hero sees is both the phenomena of the external world and the facts of his internal existence. Such, in our opinion, are the general properties of I. A. Bunin's prose of those years.

In the same story, as later and in many others, I. A. Bunin refuses the classical type of plot, which, as a rule, is tied to the specific circumstances of a particular time. The function of the plot - the core around which the living tie of paintings unfolds - is performed by the author's mood - a nostalgic experience of the irretrievably gone. The writer turns back and in the past rediscovers the world of people who, in his deep opinion, lived differently, more worthy. And in this conviction he will remain throughout his entire career. Most of the artists - his contemporaries - peering into the future, believing that there is a victory for justice and beauty. Some of them (B. Zaitsev, I. Shmelev, A. Kuprin) after the catastrophic events of 1905 and 1917. already with sympathy to turn back.

I. A. Bunin contrasts the doubtful future with the ideal, which, in his opinion, stems from the spiritual and worldly experience of the past. At the same time, he is far from reckless idealization of the past. The artist only contrasts in the story the two main trends of the past and the present. The dominant of the past years, in his opinion, was creation, the dominant of the present years was destruction. How did it happen, why did the modern person I. A. Bunin lose the “right path”? This question worried the writer, his narrator and his characters all his life more than questions of where to go and what to do. The nostalgic motif associated with this loss will sound stronger and stronger in his work, starting with Antonov Apples.

Thus, by the beginning of the 1900s, I. A. Bunin’s path to himself, to the specifics of his talent, striking with external depiction, phenomenal observation, extremely deep psychologism and tenacity of the writer’s memory, was basically completed. Persistently, consciously, he constantly trained in himself the ability to guess from a single glance the character of a person, his position, his profession. “I, like a detective, pursued one or another passerby, trying to understand something in him, to enter him,” I. A. Bunin will say about himself. And if you muster up the courage and add to this that throughout his long, almost seventy-year creative life, he was and remained an ascetic artist, it becomes clear that the components of his talent were united extremely harmoniously and happily.

1.2 Psychologism as dominantreception in stories"Village" and "Sukhodil"

In the 1910s, the first significant works about the peasantry appeared in Russian literature. To a large extent, this was facilitated by the general increase in the attention of writers to the Russian village at the turn of the 19th-20th centuries.

In the same years, I. A. Bunin's story "The Village" was published, which marked on the writer's literary path the milestone beyond which "the period of the writer's full creative maturity began." And although in subsequent years he did not create a single work equal to the "Village" in terms of the breadth of coverage of life phenomena, an extensive cycle of stories about a peasant, developing and in many ways deepening the theme of his story, will open a new significant stage in the writer's work.

"The Village" is one of those works by I. A. Bunin, in which both the strengths and weaknesses of his work were most clearly affected. The strength of the story is in the deep masterful psychologism, in the reflection of the most hidden features of the Russian national character, in the truthful, irresistible in its artistic persuasiveness depiction of the poverty and lawlessness of the Russian village, robbed by the authorities; weakness, it seems to us, is in the inability to show the ways of reorganizing reality. The story was the result of I. A. Bunin's comprehension of the results of the memorable 1905. These folk performances struck and shocked I. A. Bunin to the depths of the soul. The writer, who in all his previous works portrayed the peasant as a humble and submissive worker, saw for the first time a peasant - a rebel. N. M. Kucherovsky notes: “I. A. Bunin saw in the awakening peasant a danger threatening the collapse of the centuries-old way of Russian life, and he captured his fear of the coming popular uprising with a high degree of psychologism in the story "The Village".

I. A. Bunin's new approach to the traditional peasant theme also determined his search for new means of artistic expression. The heartfelt lyrics, characteristic of the writer's previous stories about the peasantry, were replaced in "The Village" by a harsh, sober narrative, generously saturated with the image of everyday trifles of village life.

“The great-grandfather of the Krasovs,” this is how the story begins, “nicknamed the Gypsy in the courtyard, was hunted down with greyhounds by the captain Durnovo ...”. Already this beginning, which tells about the ancestors of the heroes of the "Village", determines the overall psychological sound of the story. Simple, harsh and harsh words, a businesslike everyday tone, outward dispassion with which grave and tragic events are spoken of. This is how the whole "Village" is written, so different in its style from all the previous works of I. A. Bunin.

In the center of the story is the life of the Krasov brothers: the kulak Tikhon and the self-taught poet Kuzma. Through the eyes of these people, the fate of each of whom was unsuccessful in their own way, the main events of the depicted era are given in the story: the Russo-Japanese war, the revolution of 1905, the reaction that followed it, etc. There is no single continuously developing plot in the story, it is a series of paintings of village, and partly county life, which the Krasovs have been observing for many years.

Tikhon and Kuzma are tragic figures who realize this themselves. The search for the origins of such a state leads them to a frenzied analysis of rural reality. The same passion seizes the author. The observation is carried out by the Krasov brothers, and the writer interprets their experience as part of a general, mass experience. Much in the assessments of the characters, especially Kuzma, and their creator coincide. The plot development of the story is based on the opposition of the truth-seeker Kuzma to the shopkeeper Tikhon. Tikhon wanted to and became a "chain dog" from his own growing wealth. Kuzma tirelessly seeks spiritual connections with people, more and more resolutely does not accept the morality of his brother. Bitterness, bitterness of Tikhon causes disgust Kuzma. The same reaction determines the author's remarks: "shifted eyebrows", "clenched fists" - in Tikhon. In contrast to the "exhausted, thin face, mournful eyes" - Kuzma.

One of the main characters of the story is Kuzma Krasov. He stands in the center of the described events, and the events themselves are given through the prism of his perception.

Kuzma is a loser. He “dreamed all his life of studying and writing,” but his fate was such that he always had to deal with an alien and unpleasant business. In his youth, together with his brother Tikhon, he traded, traveling around the surrounding villages and exchanging small urban goods for eggs, canvases, rags, even dead cats, then he worked for a chauffeur, worked as a broker, wrote articles in newspapers on the grain business "and thought more and more persistently, what is lost, that his life is lost. Subsequently, Kuzma served in a candle shop, was a clerk, in the end, he moved to live with his brother, with whom he had once violently quarreled.

A heavy burden falls on the shoulders of Kuzma and the awareness of a life lived aimlessly, and bleak pictures of the reality surrounding him. Based on real observations of the lives of people like Kuzma Krasov, the writer skillfully revealed in his hero the positive features that testify to his desire for a better life. The rapid spiritual growth of Kuzma also attracts attention, the main result of which should rightfully be considered the overcoming of his barbaric attitude towards man in general, towards women in particular, and the formation in his mind of the principles of humanism, deep in its sincere humanity. It is impossible, of course, to ignore his views on Russia, on the Russian people. Editing the story, I. A. Bunin strengthened the revelatory orientation of Kuzma's monologues, supplementing them with new critical statements about Russia and the Russian people.

No less important in the story is the image of his brother, Tikhon Krasov. To a large extent, it is through him that the writer stretches the thread from the image of the inhabitants of the impoverished, dark Durnovka, among whom his life passes, to the image of yesterday's rulers and noble masters.

In this regard, the remark of V. N. Afanasyev is justified, who in one of his works devoted to the work of I. A. Bunin writes: “It is from the“ Village ”that the writer’s mercilessly truthful approach to representatives of the class from which he himself came out originates. Faithful to the truth of life, sometimes contrary to his personal sympathies, in a number of works he gives a deep and convincing picture of the complete fall of yesterday's "masters of life", speaking about them either harshly and humiliatingly, or mournfully and drearily ... ".

Kuzma’s brother, Tikhon, lived all his life, according to his own judgment, a “chain dog” with accumulated wealth, but he also understands: “Do you think they wouldn’t kill me to death, if I got them, the peasants - then this, sewing under the tail , as it should - if only they were lucky in this revolution - then? Wait, wait, it will be, it will be!” he says in a fit of revelation to his brother.

Never, neither before "The Village", nor after it, Bunin's heroes judged so passionately and excitedly about the historical past of Russia, about the contemporary world, and never did the views of the author himself intrude so decisively into the judgments of the heroes.

In the liberal press, the "Derevnya" was received somewhat bewilderedly. Criticism was stunned: I. A. Bunin - the poet of abandoned estates, noble nests - wrote a story about terrible lack of rights, darkness, poverty, about the heavy peasant lot. But here, too, criticism praised the writer as a gifted artist of the word, a master of psychological portraiture, a short story writer who subtly felt Russian nature and miraculously conveyed the landscape. Criticism reproached the writer for exaggerating the dark sides of the life of the village, that he described the village as a "newcomer intellectual", as a nobleman and a ruined landowner (by the way, I. A. Bunin was never a landowner).

In 1911, the following story by I. A. Bunin, “Dry Valley”, was published, entitled so by the name of the story that opens it, which for the next few years became the second most important work of the writer after “The Village”. But if in "The Village" criticism saw a sharp break with the traditional populist views on the peasantry, then in "Sukhodol" she (criticism) noted a no less decisive understanding of the view of the nobility that had developed in Russian literature back in the 19th century. “A writer comes - a nobleman and an undoubted artist,” critic R. V. Grigoriev wrote shortly after the publication of I. A. Bunin’s book, “and says that the Larins’ estate is myths, that instead of fragrant lindens and fresh roses there was a heavy gloomy Sukhodol ... Bunin I wanted to take a sober look at Sukhodol. He spared no one, did not shut up anything ... He strongly and vividly captures the era, shows life as it was, without any prejudice and embellishment.

The strengthening of a critical view of the nobility in general was a characteristic phenomenon for Russian literature at the turn of the century. Suffice it to recall the young A. N. Tolstoy, about whom M. Gorky wrote back in 1910: “Pay attention to the new Tolstoy, Alexei the writer, undoubtedly a great strong one and with cruel truthfulness depicting the psychological, moral and economic decay of the modern nobility.”

When Sukhodol appeared, one of the critics compared it with M.E. Saltykov-Shchedrin's The Golovlevs, and this comparison, unexpected at first glance, has serious grounds, if we ignore the manner of depiction - sharply revealing by Saltykov - Shchedrin and contemplative - elegiac by I. A. Bunin - to delve into the very essence of the depicted phenomena. It is interesting, however, how the writer himself interpreted the idea of ​​his work. In this regard, the interview given by the writer himself in the autumn of 1911, when the story had already been completed, but had not yet appeared in print, is especially interesting: people - the nobility. The book about the Russian nobility, strange as it may seem, is far from finished, and work on the study of this milieu is not completely finished. We know the nobles Turgenev and Tolstoy, who depicted the upper layers, rare oases of culture ... It seems to me that the life of most of the nobles of Russia was much simpler, and their soul was more typical of a Russian than Turgenev and Tolstoy describe ... ".

I. A. Bunin sought to consistently embody all the ideas expressed in this interview in his story, but it is very characteristic (and this is the wonderful authentic realistic side of the work) that, contrary to the author’s intentions, but in full accordance with the historical truth, the life of landowners and peasants was revealed on pages of Sukhodol, not in idealistic unity, but in constant, sometimes hidden, sometimes open enmity, and the Sukhodolsk nobles themselves appeared before the reader as people not worthy, in essence, neither love, nor respect, nor that heartfelt

lyrics, which the author sought to endow with their images.

But Bunin's story is not only the story of one noble family for two generations, but also "a kind of attempt to philosophically comprehend history ...". But this attempt, in our opinion, at every step reveals its failure, because it proceeds from false, anti-historical premises. In his desire to bring the landowners and peasants closer together, I. A. Bunin points to the facts of the physical connection of the masters with the peasants, and to the way of life of the nobility, supposedly close to the peasantry, and to the features of hysteria, moral imbalance, equally characteristic of both the owners and the peasants. servants. And also the property allegedly inherent in both of them "either to rule, or to be afraid."

Often the pictures of Sukhodol life are given in the story through the perception of the former serf Natalya, in which her attachment to Sukhodol was always striking. And although, poisoned by the psychology of humility and humility, Natalya does not rise not only to a protest against the master's arbitrariness, but even to a simple condemnation of the actions of her masters. Her whole fate is an angry indictment against the owners of Suhodol. Left an orphan from the fact that "the Lord's father was sent to the soldiers for faults, and mother did not live to see a century because of turkeys (she died of a broken heart, fearing punishment for the fact that the birds entrusted to her were killed by hail)", Natalya becomes a toy in hands of gentlemen. As a girl, she fell in love with the young owner Pyotr Petrovich, and he not only whipped her with a rapnik when she "fell under his feet", but also exiled her in disgrace to a remote village, accusing her of stealing a mirror, although she hid this very mirror in memory of a loved one. But if Pyotr Petrovich was sharp and tough by nature, then his brother, the kindest and most carefree Arkady Petrovich, wanted to flog the hundred-year-old Nazarushka, caught in the garden and crying among the servants who surrounded him barely alive with fear; and the sister of both young gentlemen, Tonechka, barely grown up, was already beating Darya Ustinovna, who had once been her father's nurse. After all this, it does not seem surprising that Pyotr Petrovich avoids riding with the coachman Vaska Kazak, fearing that Vaska will kill him, who has greatly embittered the servants by beating him. Beatings and fights flourish even between the masters themselves. It sometimes got to the point that they grabbed knives and guns, and sat down at the table in Sukhodol with rapniks in case of a quarrel.

This real truth about a person is palpable in all the inhabitants of the manor house. It breaks every now and then through "the bark of their noble-landlord, individualistic limitations", putting them in an insoluble contradiction with the surrounding society. Their tragedy, according to Bunin, is aggravated by the development of an external conflict into an internal conflict, which dooms them to exhausting coexistence not only with the environment, but also with themselves. This was reflected in the maturity of the psychologism of I. A. Bunin's prose, which is reflected in the phrase that Pyotr Petrovich utters: "alien to himself and to the whole world." The dialectic of internal and external acquires not only not only a socio-psychological, but also a philosophical meaning, which consists in posing the question of the correlation in a person of universal and concrete historical, social-generic and socio-species principles. The predominant in the story is the second, direct form of psychologism, and the introspection of the characters turns out to be leading here, which finds different expression in the form of a confession to the interlocutor; "momentary" internal speech of the hero, synchronous to the action; retrospective comprehension of one's psychological state, motive of behavior; psychological experiment on others and oneself.

I. A. Bunin himself speaks about the spiritual instability, psychological inferiority of the owners of Sukhodol without any ado: “Yes, neither to reasonable love, nor to reasonable hatred, nor to reasonable affection, nor to healthy nepotism, nor to work, nor to communication they were not capable in Sukhodol ... The Sukhodol chronicle is full of absurd and terrible stories.

Thus, the theme of tyranny and humility does not appear by chance in Sukhodol. It will be further developed in a number of later prose works by I. A. Bunin, as well as the theme of the Russian national character. In many of his works, a plot will be built on the opposition of these two heterogeneous principles, a clash of characters will arise. In terms of its artistic and psychological features, Sukhodol, more than any other work by I. A. Bunin, is close to Bunin's poetry. The tough and frisky manner of narration characteristic of the "Village" in "Dry Valley" is replaced by the soft lyrics of memories. To a large extent, the lyrical sound of the work is also facilitated by the fact that the narration includes the voice of the author, who comments and supplements Natalia's stories with his observations. It is in the author's digressions, or, it would be more correct to say, "introductions" into the narrative, that the language of Bunin's prose is closest to the language of his poetry.

If in the description of Sukhodol the author's voice is sad and calm, then at the end of the story, where it is about the abandoned graves of the ancestors, the narrator's intonation sounds along with quiet sadness and badly restrained bitterness. Himself, asking questions: “But whose are they?” (graves), the author replies: "God knows." We will hear many such internal questions addressed to ourselves in the novel “Arseniev’s Life”, with which Sukhodol is related by longing for the noble past that has sunk into eternity, although the novel, written many years later, already in exile, does not contain those critical and harsh words about the owners of the "noble nests", which are heard in "Sukhodil". In it, the writer focuses more on his autobiography, weaving branches of a deep psychological principle into his plot outline.

In conclusion, it should be noted that the work of I. A. Bunin of the late XIX - early XX centuries. contributed to the development of a special form of psychologism - this is the disclosure of psychological processes only in their internal manifestation. The stories "Village" and "Dry Valley" in this regard are undoubtedly the most revealing. In these works, I. A. Bunin makes an attempt to reveal and analyze psychological processes and in their external manifestations (albeit somewhat fragmentary), and directly analyze the psyche and soul of the hero. In general, the stories became another step towards the creation of psychological prose, a model of which, in our opinion, was the writer's wonderful novel "Arseniev's Life".

We will dwell on the analysis of the named work in more detail in the paragraph more devoted to this novel.

1.3 originalityPsychologistsgpAin worksAND.A.Bunin1914 -17 - 1990s

Undoubtedly, the problem of depicting Russian reality was the most relevant for I. A. Bunin in the 1910s in comparison with other periods of his work. The surge of national self-consciousness caused by the revolutionary events of 1917 is fully reflected in Bunin's psychological prose and is associated precisely with an active understanding of the nature of the Russian person, his abilities, opportunities and future fate. Later, I. A. Bunin continues to write stories about Russian people, continuing to reflect on the "mystery of the Russian soul." This thinking has reached a new level, if only for the reason that significant changes have taken place with Russia, which could not but affect the national self-consciousness of the writer.

The main direction in which Bunin's creativity developed in the 1914-17s was a combination of lyricism of style and psychological self-development of character, analysis and synthesis. I. A. Bunin became the finalist of a whole period of Russian classical literature, “associated with the strengthening of psychologism in it, which obliged him to further develop and enrich poetics and stylistics, to develop new forms of artistic representation ...”

The peculiarities of the poetics of Bunin's lyrical miniatures embodied the specifics of the genre of lyrical prose as fully as possible. Lyrical prose is characterized by the emotional and intellectual self-expression of the hero, the artistic transformation of his individual life experience, which is no less important than the objective depiction of the realities of material reality. Bunin's miniatures include a description presented by A.I. Pavlovsky: “The content of a lyrical work is no longer the development of an objective incident, but the subject itself and everything that passes through it. This determines the fragmentation of the lyrics: a separate work cannot embrace the integrity of life, because the subject cannot be everything at the same moment. An individual person at different moments is full of different content. Although the whole fullness of the spirit is available to him, but not suddenly, but separately, in countless different moments.

Grasping reality in its most important object-sensual manifestations from the point of view of Bunin's hero, the narrator of lyrical miniatures thereby, as it were, splits them into separate realities, each of which is comprehended by him with the greater intensity and depth, the greater the emotional impact it has on him.

No matter how complex and deep phenomena of the spiritual sphere are discussed in Bunin's works of these years, the comprehension of these phenomena invariably turns under the artist's pen into a poetically penetrating, spiritualized self-expression of his lyrical hero. This is achieved by various means. Here is the open lyrical aspiration of the narrative, and the balanced musical and rhythmic organization of phrases, and the intensive use of poetic tropes that direct the reader's thoughts in the right direction. As a result, internal monologues, permeated with sad and elegiac reflections on the secrets of life and death, cannot but evoke a certain reciprocal empathy in the soul of the reader.

However, this does not mean that the writer departs from the principles of the artistic depiction of life and man. His stories and stories are based on the same realistic method as in the works of the turn of the century, written in an objective manner, with the only difference that now the disclosure of the comprehended life is refracted through the subjective perception of the individual, whose thoughts and feelings act on the mind and heart of the reader. with no less force than visual realities.

In order to enhance the emotional and aesthetic impact, the writer resorts to his favorite method of associative comparison of life facts and phenomena. Unlike modernists, I. A. Bunin saw in the artistic association not a self-sufficient symbol and not a simple set of spectacular poetic tricks that are not capable of a critical attitude to the depicted, but the most important means of realizing the author's thought, idea. Even with the help of the most remote associations, I. A. Bunin sought to direct the reader in the right direction. Through the complex associative plan, the naked reality of the material and social environment in which he lives, acts and reflects always appears. For example, in the story "Antonov's apples" expressive details of a small local, settled life for centuries, the image of which is one of the leading motifs of the writer's early work, clearly emerge. We see with our own eyes the picking of apples and the fair, and the whole way of the average noble life, going to its decline.

And yet, it is not the realities of socio-historical reality that are significant for the hero-narrator, but the beauty, grandeur of nature, which are the subject of his own thoughts.

In full accordance with the genre of lyrical prose, most of Bunin's works are written in the first person. They resemble the pages of a lyrical hero's diary, who, as a rule, is the only character that unites the action. Of course, one can talk about a specific action with a stretch. There is no well-defined traditional plot containing intrigue or a clash of human characters. Instead, in the foreground we see "the flow of thoughts and feelings of the hero, subtly feeling and reflecting, passionately in love with life and at the same time tormented by its riddles" . Most pre-revolutionary critics considered Bunin's miniatures as a phenomenon that had nothing to do with the early stories of I. A. Bunin.

The artistic system of I. A. Bunin, his psychologism is bipolar. One of their poles is descriptive (landscape, interior, portrait, and so on). It occupies a different volume in the works - from a relatively modest, functionally connected with the plot, to a self-sufficient text that fills the entire space. But it is constant, firstly, that it is always created according to the same aesthetic laws, and, secondly, it goes beyond strict subordination to the logic of the narrative and exceeds what is necessary.

Its second pole is the plot. Its range is wide from zero to acutely psychological and intense. His presentation can be sequential or discrete, that is, interrupted in time. The plot can be built according to the logic of linear time or on the displacement of time layers. If in the descriptive elements I. A. Bunin is monotonous, then in everything that concerns the plot, he is virtuoso inventive.

The functions of psychological descriptiveness and plot can be understood by comparing them. The system of their interaction is the most important component of the artistic world of I. A. Bunin, which originates from the depths of his philosophy of being. In some fragments, descriptiveness is traditionally subordinated to the plot; its function is to overcome the schematism of the plot, to give it concreteness and plausibility. In other cases, not quite subordinate descriptiveness performs other tasks. Thirdly, descriptiveness is sovereign from the plot and correlates with it on other artistic grounds.

The problem of the interaction of two aesthetic poles - plot and psychological descriptiveness - has a special perspective in works where "reality appears through the prism of subjective states that are intermediate in nature from slightly distorted to surreal..." The function of descriptiveness as a beginning that overcomes the centrality of the plot is always A. Bunina prevailing, often acting as the only function.

Many of Bunin's works before the emigration period had no plot. The writer translates their epic content into lyrical content. Everything that the lyrical hero sees is both the phenomena of the external world and the facts of his inner existence (general properties of lyrics).

Life is incommensurably wider than any event, and the aesthetic reality of a story is wider than a storyline. The story is just a fragment of the boundless being, the frame of the beginning and the end can be arbitrarily imposed in any place. The title plays the same role. Neutral names are often preferred so as not to distort the meaning. The names of Bunin's works are also unpretentious: "New Road", "Pines", "Meliton", etc. The most characteristic among the plotless works of I. A. Bunin is "Epitaph", filled with memories of the past. Bunin's memories are already transformed and poeticized in the depths of consciousness, because they exist in the emotional field of longing for the forever gone. This is manifested primarily in the fact that every detail becomes convex, bright, valuable in itself.

One of the most important functions of the plot and descriptiveness in their totality is the expression of the space-time dimension of life. The verbal art of the 20th century, as it were, is torn beyond its limits. The spatial form allows you to fully feel the value of any moment and any frozen particle of life. It opens the world beyond the boundaries of human existence and correlates its scale with the infinity of human existence.

In descriptiveness, I. A. Bunin realizes the feeling of infinite being. Although the plot sometimes drops to zero, the descriptiveness never does. It has priority, it is always focused on what is outside the work.

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